The official copy and paste long chunks of text no one will read thread

[christiancollegegirl]

I read that in my english class last semester and hated it.

 

[resurrection33]

Actually, Stilly, I found those baseball stats to be very interesting.

 

[christiancollegegirl]

Res, I think you're the only on on CC that thinks that stuff is interesting. I just like going to the games and oogling the players.

 

[resurrection33]

You don't find baseball statistics interesting?

 

[wwjd_kilden]

PATTERNS


OPEN CLOSE PRINCIPLE: Software entities like classes, modules and functions should be open for extension but closed for modifications. When referring to the classes Open Close Principle can be ensured by use of Abstract Classes and concrete classes for implementing their behavior.

Interface segregation principle:
Clients should not be forced to depend upon interfaces that they don't use

Single Responsibility Principle
If we have 2 reasons to change for a class, we have to split the functionality in two classes.

Liskov's Substitution Principle
The new derived classes should be able to replace the base classes without any change in the code

the dependency inversion principle
The goal of the dependency inversion principle is to decouple high-level components from low-level components such that reuse with different low-level component implementations becomes possible. This is facilitated by the separation of high-level components and low-level components into separate packages/libraries, where interfaces defining the behavior/services required by the high-level component are owned by, and exist within the high-level component's package. The implementation of the high-level component's interface by the low level component requires that the low-level component package depend upon the high-level component for compilation, thus inverting the conventional dependency relationship.

Applying the dependency inversion principle can also be seen as applying the Adapter pattern, i.e. the high-level class defines its own adapter interface which is the abstraction that the high-level class depends on.

The adaptee implementation also depends on the adapter interface abstraction (of course, since it implements its interface) while it can be implemented by using code from within its own low-level module. The high-level has no dependency to the low-level module since it only uses the low-level indirectly through the adapter interface by invoking polymorphic methods to the interface which are implemented by the adaptee and its low-level module.

COMMAND: Oppheve kobling sender - mottager
Når man må utføre en metode/ delegere ansvar uten å kjenne til metodens eier eller parametre.

Et objekt representerer og innkapsler all informasjon som trengs for å kalle en metode på et senere tidspunkt: objektet som eier metoden, metodenavn og evt paramtere.

Client/ Sender: Instansierer command- objektet
Angir informasjon som trengs senere for å kalle metoden. Kan ha stacken som muliggjør andring.

Invoker: angir når metoden skal kalles

Reciver/ Target: Instans av klassen som inneholder metodens kode.
Blir ofte også påvirket av handlingen. Eier datasettet.

Command Object, routed event args, event object: Objektet som sendes fra client til command object til reciver/ target objekt. Hvert knappeklikk/ snarvei skaper et nytt objekt.

Handler = metode/ funksjon

Command manager: Legger command objektene i en stack / ruter dem til en handler kode/
target objeket

- Angrefunksjon ved hjelp av en stack | Rollback i databaser
- Lage statusbar for fremdrift
- Wizards: hver handling lager et command- objekt;
alle venter helt til man trykker Finish, så - utføres de
- Actions i SWING er command objekter
- Over nettverk, rollespill

Note that using a separate object for each invocation of a command is also an example of the chain of responsibility pattern. (Eks angre fjering av tekst: angre kan ikke ha ett felles tekstobjekt å gjenopprette. Det må finnes ett for hver angre- kommando.


CHAIN OF RESPONSIBILITY:Unngå direkte kobling mellom sender og utfører
- Gjør at flere objekter får muligheten til å behandle meldinger.
- Videresender meldingen langs kjeden helt til et objekt behandler den.
- Signalet kan starter hvor som helst i kjeden.
- Kan brukes i signaldreven logikk: GUI og kontrollere.

Each processing object contains a set of logic that describes the types of command objects that it can handle, and how to pass off those that it cannot handle to the next processing object in the chain.

SINGELTON: Når det er viktig å kontrollere antallet instanser (som regel kun 1)
- Sparer ressurser siden instansiering er ”tungt”
- Klassen må bare kunne instansieres om den ikke allerede er instansiert.
- Konstruktøren må IKKE være synlig utenfor klassen
- Benytt synlig metode for å returnere instansen til andre klasser/
- opprette instans om en ikke finnes
- Mer fleksibelt enn klasse med statiske variabler og metoder siden man kan instansiere n stk.
- Kan forebygge bruk av globale pekere.

Bruker i logger- og konfigurasjonsklasser.

[FONT=&quot]//Early instantiation using implementation with static field.
class Singleton
{
private static Singleton instance = new Singleton();

private Singleton(){}

public static Singleton getInstance()
{
return instance;
}
public void doSomething(){}
}[/FONT]
[FONT=&quot] [/FONT]
ADAPTER Tilpasse en klasses grensesnitt uten å endre dens kildekode.
Kan gjøre at alle klassene kan benytte samme interface- deklarasjon.
Tilpasse eksisterende metoder til et bestemt grensesnitt: Komposisjon (object adapter)
Evt bruker man multippel arv: class adapter, og kan legge til metoder

Eks: En klient trenger å motta lister av typen Iterator. To av klassene har isteden Eumerator.
Disse to klassene trenger da hver sin adaptor for å kommunisere med klienten.
Adapter- klassene må så få hver sin Iterator-funksjon
- Denne må implementeres så den oversetter fra Enumerator til Iterator - objekter.

import java.util.*
public class VectorAdaptor
{
Public Iterator iterator(){
HashSet hs = new HashSet();
Enumeration e = vector.elements();
while (e.hasMoreElements()) {
hs.add(e.nextElement());
}
Return hs.iterator();
}
Private Vector vector; // må være instansiert og forsynt med data
}

FAÇADE Et enhetlig grensesnitt utad som dekker mange grensesnitt inad
Gjør at andre systemer kan be om tjenester uten å kjenne til systemets indre grensesnitt.
Klientene får dessuten kun en klasse å kommunisere med.

GRASP: General Responsibility Assignment Software
- Designe klasser
- Tildele ansvar vha konkrete operasjoner à Konstruere algoritmer og datastrukturer i disse
- Ofte tildeles en klasse ansvar for å handle på informasjon den har tilgang til.

Vite: Innkapslede private data, parametre og aggregerte objekter + deriverbare data.
Gjøre: Det objektet kan gjøre: Beregne, instansiere/ aggregere objekter, sende dem meldinger.

GRASP: Controller: Kontrollobjektet skal ikke ha noe GUI- ansvar. Tar seg av systemhendelser:
En bruker gjør noe i GUI àEn hendelse genereres av et objekt i GUIet… noen må ”svare”.
Disse kan representere selve systemet, (enheten som genererer hendelsen) /et subsystem med en fasade. Eller objekter som representerer et overordnet brukstilfelle hvor en systemhendelse oppstår.
Kontrollklassen finner ut hvilken aksjon som skal iverksettes ut fra et argument fra systemhendelsen

GRASP: High Cohesion: Hvor fokusert en klasse er på en enkelt type oppgave
- Gjør det lettere å få oversikt og å finne logiske feil.

GRASP: Expert: Tildele ansvar til riktig klasse à Fører til low coupling
Den klassen som har den nødvendige informasjonen skal være ansvarlig for å behandle den.

Eks: Spillebrett, spillefelt, brikke: Finn vinnermønster:
Spillebrett spør felt (om det har brikke), spillefelt spør brikke (hvem den tilhører),
è Spillebrett regner så ut om noen har vunnet.
è Spillebrett aggregerer da spillefelt ved komposisjon, og feltet brikken ved aggregering.

GRASP: Low coupling: Fremme gjenbruk ved å ha minst mulig tilkoblingspunkter
Eks: salg, vareregister, prisstrategi.
Salg kan hente informasjon fra begge de andre og selv regne ut prisen.

GRASP: Creator: Begrenser hvem som kan lage instanser av andre klasser.
En klasse kan instansiere en annen hvis:
- Den aggregerer den andre klassen / inneholder eller bruker objekter derfra
- Den har tilstrekkelig informasjon om den andre klassens konstruktører

Factory pattern: lage objekter uten å avsløre opprettelseslogikk for klient,
Vise til det nyopprettede objektet gjennom et et felles interface

Klient trenger et produkt, men istedenfor å lage et vha ”new”, gir den Fabrikkobjektet informasjon om hvilken type objekt den trenger.
Fabrikk oppretter og støper om konkret produkt til en abstrakt klasse og returnerer denne til klienten.
Klienten bruker den abstrakte utgaven uten å vite om den konkrete.

For å kunne instansiere ulike typer objekter UTEN å endre fabrikken:
Class registration avoiding reflection:

abstract class Product
{
public abstract Product createProduct();
...
}

class OneProduct extends Product
{
...
static
{
ProductFactory.instance().registerProduct("ID1", new OneProduct());
}
public OneProduct createProduct()
{
return new OneProduct();
}
...
}

class ProductFactory
{
public void registerProduct(String productID, Product p) {
m_RegisteredProducts.put(productID, p);
}

public Product createProduct(String productID){
((Product)m_RegisteredProducts.get(productID)).createProduct();
}
}





http://en.wikipedia.org/wiki/Dependency_inversion_principle
Design Patterns | Object Oriented Design

 

[christiancollegegirl]

lol Astrid! That stuff is even more boring in Norwegian.

 

[EverlastingChange]

ENCYCLOPEDIA OF TIE KNOTS
This is the definitive catalogue of tie knots, most of which were invented by me and my co-author, Yong Mao. At the end of this page, I give some general notes on ties.
The catalogue follows, and compliments, The 85 Ways to Tie a Tie, though it does not excerpt any of the text therein. More detailed information can be found in the book. A mathematical derivation of the knots included here and technical information about the different knots can be found in the two physics journal articles, 'Designing tie knots by random walks' (a summary) and 'Tie knots, random walks and topology' (a detailed exposition).
INTRODUCTION

The knot tying directions make use of the L-R-C notation below, where 'i' and 'o' mean in and out. I give explicit illustrated instructions for the classic tie knots 2, 5, 7 and 31 (four-in-hand, Pratt, half-Windsor and Windsor); more illustrated instructions can be found in the book.

The two ways of beginning a tie knot.

The six ways of continuing a tie knot.


The two ways of ending a tie knot.


The T T ending. This can be generalised to T T T, etc., as expected.




KNOTS OF NOTE

Of the 85 possible tie knots that can be tied with a tie of conventional length, the following are of particular interest. The first number is the number of the knot, as catalogued in the Summary of Knots in The 85 Ways and at the bottom of this page. Some of the knots have close cousins with which they are often confused (not including mirror images). These typically involve the transposition of one or more L-R pairs. They are indicated by prefixing the name of their relation with 'co-', as in co-Windsor.
1 Lo Ri Co T Oriental (aka simple, small)

Although this is the simplest of knots, it is not widely known in the Western world, where it is sometimes called the simple knot. It is, however, widely used by youth groups in China, hence its name. The Oriental is particularly useful for wool or thick silk ties. On thinner cloths it can loosen up over time, requiring frequent adjustment. The Oriental is also the first knot to be tied with the tie inside-out around the neck, a technique unfamiliar to most men but used in half of all possible knots.

2 Li Ro Li Co T four-in-hand

This is, without question, the most well-known, and today most frequently worn, knot of all. Tied in an ordinary silk tie, it is a small knot with a characteristic elongated, asymmetric shape. In thicker ties, the four-in-hand can look deceptively large; the Windsor knot, named after the eponymous Duke, was in fact a four-in-hand tied with specially tailored thick ties. It was the public, rather than the Duke, which invented the Windsor knot and in an attempt to emulate his big knot.

The four-in-hand refers not only to the knot described here, but also to the modern necktie itself. The knot and the tie were simultaneously introduced in the 1850s as an alternative to the cravats popular at the time. There are a number of possible etymologies for the name: drivers of the four-in-hand carriage tied their scarves with the above knot; the reigns of carriage were tied in the same way; it was worn by members of the now-defunct Four-in-Hand Club.


2on Lo Ri Lo Ri Co T Ri Co Onassis

Although this knot is technically no different from the four-in-hand (2) (the wide blade is simply thrown behind ond over the existing knot), it gives a dramatically different appearance. It was worn by the Greek shipping tycoon Aristotle Onassis and, according to The New York Times in 1989, it 'still has a certain popularity along Seventh Avenue' in New York City.

The suffix 'on' has been added to the knot number 2 to designate this Onassis variation. The Ri Co effect can in principle be applied to any knot, although the effect will be the same.

3 Lo Ri Lo Ri Co T Kelvin

This knot, also begun inside-out, is similar to the four-in-hand, but slightly bigger and more symmetric. It is named after Lord Kelvin who, although he would not have used the knot itself, contributed to the mathematical theory of knots first seriously studied in the 19th century.

32 Lo Ri Lo Ri Co T T cross Kelvin

When the T T ending is used with the Kelvin, it produces a cruciform structure similar to the Christensen below (knot 252). This is the smallest knot with which the T T ending can be used, given that the knot must end L R L R C or R L R L C to do so.

32r Lo Ri Lo Ri Co T T diagonal

When the cross Kelvin is worn in reverse (back-to-front), it shows an unusual diagonal pattern. The tie itself should be reversed before tying.

4 Lo Ci Ro Li Co T Nicky

This knot, a cousin of the Pratt (5), has a compact, symmetric shape, despite the fact that is has two L moves and one R. In size it is in between the four-in-hand (2) and half-Windsor (7), and it is a natural choice for those seeking a symmetric knot of modest size.

5 Lo Ci Lo Ri Co T Pratt (aka Shelby)

Although more well-known than the Nicky, this knot is also the co-Nicky, being identical to that knot apart from the transposition of the R-L pair. Some men prefer the Nicky, some the Pratt; one or the other should be a staple of any man's knot repertoire.

6 Li Ro Li Ro Li Co T Victoria

This knot is identical to the four-in-hand apart from the addition of another R-L pass of the the wide blade across the knot before ending.


7 Li Ro Ci Lo Ri Co T half-Windsor

If a man claims to know a second knot in addition to the four-in-hand, it is likely to be the half-Windsor, the third of the four classic tie knots. This symmetric knot is medium-sized, with the silhouette of an equilateral triangle. It can satisfactorily be worn with collars of most sizes and spreads. Although the name of the half-Windsor suggests it is derived from the Windsor, there is little direct evidence for this claim. Moreover, the half-Windsor is not half the size of the Windsor, but rather three-quarters.

Keep in mind that the half-Windsor is sometimes a victim of the erroneous naming convention used to describe both it and the Windsor, calling them the Windsor and double-Windsor. There is no such thing as a double Windsor, and the Windsor should be used to refer to knot 31 only.

8 Li Ro Ci Ro Li Co T co-half-Windsor

This cousin of the half-Windsor has the advantage of self-releasing (unknotting) when the thin end is pulled out through the knot.
12 Lo Ri Lo Ci Ro Li Co T St Andrew

14 Lo Ri Lo Ci Lo Ri Co T co-St Andrew

18 Lo Ci Ro Ci Lo Ri Co T Plattsburgh

Named after the small town in up-state New York, where the author was born.

19 Lo Ci Ro Ci Ro Li Co T co-Plattsburgh

23 Li Ro Li Co Ri Lo Ri Co T Cavendish

This is the principal 8-move, 2-centre knot. As its sequence suggests, the Cavendish is a concatenation of two four-in-hands, one being a mirror image of the other. This gives an idea of its shape: similar to the four-in-hand, but much bigger.


252 Li Ro Ci Lo Ri Lo Ri Co T T Christensen (aka cross)

This is an ingenious knot which has an unusual cruciform structure. It is achieved by wrapping the thin blade around twice and passing the wide blade through both loops (see the explanation of the T T move above). Here is a picture of a Christensen knot from an old catalogue, using a tie of uniform width. Notice that both layers of the (normally) thin end should be visible, which form the two legs of the cross.

The knot is best tied with ties made from thin material, giving the hourglass shape shown here and not the more triangular shape which results from medium- and heavy-weight fabrics.
272 Li Ro Ci Ro Li Ro Li Co T T co-Christensen

31 Li Co Ri Lo Ci Ro Li Co T Windsor (aka double-Windsor)

This is probably the most well-known knot name, though in practice more men know how to tie the simpler half-Windsor (7). It is sometimes incorrectly referred to as the double-Windsor; no such not exists, unless it is meant to refer to the ludicrously large 16-move knot, Li Co Ri Lo Ci Ro Li Co Ri Co Li Ro Ci Lo Ri Co T.

The Windsor produces a large, solid, triangular knot, which is not worn as frequently as it was in the first half of the 20th century. In the Ian Fleming novels, Bond thinks the Windsor knot is 'the mark of a cad'. Today it is, curiously, the knot of choice of (once) communist leaders and dictators; Hugo Chavez, Putin and the Chinese leaders Jiang Zemin and Hu Jintao are examples. The knot is self-releasing.

Despite the knot's name, it was not, as is commonly held, invented by the Duke of Windsor. In his memoirs A Family Album, the Duke explains that it was his specially made thick ties, rather than a complicated knot, that produced the effect:

'The so-called ''Windsor knot'' in the tie was adopted in America at a later date. It was I believe regulation wear for G.I.s during the war, when American college boys adopted it too. But in fact I was in no way responsible for this. The knot to which Americans gave my name was a double knot in a narrow tie - a ''slim Jim'' as it is sometimes called. It is true that I myself have always preferred a large knot, as looking better than a small one, so during the nineteen twenties I devised, in conclave with Mr Sandford, a tie always of the broad variety which was reinforced by an extra thickness of material to produce this effect. As far as I know this particular fashion has never been followed in America or elsewhere.'


32 Li Co Li Ro Ci Lo Ri Co T co-Windsor1

A cousin of the Windsor, but not self-releasing.

33 Li Co Ri Lo Ci Lo Ri Co T co-Windsor2

Another cousin of the Windsor, but not self-releasing.

35 Li Co Li Ro Ci Ro Li Co T co-Windsor3

A self-releasing cousin of the Windsor.

44 Lo Ri Lo Ri Co Li Ro Li Co T Grantchester

48 Lo Ri Lo Ri Co Ri Lo Ri Co T co-Grantchester

54 Lo Ri Co Li Ro Ci Lo Ri Co T Hanover

This is the principal 9-move, 3-centre knot. It is a direct extension of the Oriental and the half-Windsor, each knot being larger in turn by the addition of an L-R-C triplet. The Hanover is one move larger than the Windsor, and in shape is slightly less squat - like the half-Windsor, if forms a perfect equilateral triangle. Being a 9-move knot, it requires a larger collar or at least one with considerable spread. It is not self-releasing.

The Hanover is named after the House of Hanover, which lasted from 1760 to 1901 and included the British monarchs George III, George IV, William IV and Victoria.

55 Lo Ri Co Ri Lo Ci Ro Li Co T co-Hanover1

A cousin of the Hanover, but self-releasing.

56 Lo Ri Co Li Ro Ci Ro Li Co T co-Hanover2

Another self-releasing cousin of the Hanover.

59 Lo Ri Co Ri Lo Ci Lo Ri Co T co-Hanover3

Another cousin of the Hanover, but not self-releasing.

78 Lo Ci Ro Ci Lo Ci Ro Li Co T Balthus

This is the principal 9-move, 4-centre knot, the largest, broadest class of all. It is an natural extension of the Plattsburgh, starting inside-out but with the addition of the Lo Ci moves. The Balthus is very wide, and requires a spread collar to accommodate it. It is self-releasing.

81 Lo Ci Ro Ci Lo Ci Lo Ri Co T co-Balthus

A cousin of the Balthus, but not self-releasing.
COMPREHENSIVE LIST OF KNOTS

Here is a list of all possible knots, regardless of their aesthetic value. The columns are as follows:
Number is the number of the knot, and, along with any subscripts or superscripts, a unique identifier (e.g., FM7 is the half-Windsor, where FM refers to the Fink-Mao notation). Knots are ordered first by size, then by the number of centre moves C, then by symmetry s, then by balance b.
Size is the number of moves, not including T. Higher values correspond to bigger knots.
Centres is the number of centre moves C. Higher values correspond to broader knots.
Sequence The instructions for tying the knot, using the notation described at the top of this page.
Symmetry (s) is the absolute value of the difference between the number of R and L moves.
Balance (b) is the number of times the winding of the wide blade switches from clockwise to counter-clockwise, or vice-versa.
Knotted status (k) Whether, when the tie is removed over the head and the thin end pulled out of the knot, a knot remains or does not . If a knot remains, it is said to be not self-releasing; if no knot remains, it is said to be self-releasing.
Name Standard name of the knot.
3on The subscript on is short for Onassis, and it indicates his particular style of bring the wide blade behind and through the center after tying a four-in-hand. This variation can be applied to any knot but the results are all much the same.
32, 62, etc. If a knot ends with two Ts, it is subscripted 2; if three Ts, it is subscripted 3; and so on.
32r, etc. The superscript r means the tie is worn in reverse, that is, back-to-front. While this is of course possible for any knot, with some it gives unusual and pleasant results. The tie itself should be reversed before tying.
No. Size Cen. Sequence s b k Name
1 3 1 Lo Ri Co T 0 0 y Oriental

2 4 1 Li Ro Li Co T 1 1 n four-in-hand
2on 4 1 Li Ro Li Co T Ri Co 1 1 Onassis

NOTES ON TIES

Like most elements of Western men's dress, the knotted neckcloth has its origins in England, where the cravat replaced the ruff collar in the mid-17th century. The earliest record of the tie in its modern form is in the 1850s, where it was worn by young men as sporting attire. The style became fashionable at once, eclipsing the bow tie in popularity by the early 20th century.
Two essential ties
We will not talk about the color or pattern of ties here, apart from saying that two ties are essential in any man's wardrobe: a solid navy tie in woven silk; and a solid black tie in woven or knitted silk. An undecorated navy tie never goes amiss, whether it is worn with a pair of jeans, a blazer or a morning suit. Plain black ties, despite their relatively recent exclusive association with funerals, have long been a favorite of James Bond and Italian men.
Tie size
The ideal width of a tie is 3 – 3½ inches, which is in natural proportion with the typical man's suit. While most ties available today are wider than this, the best tie makers, such as Hermès and many of the shops along London's Jermyn Street, have consistently produced ties of the ideal width. Once tied, the length should be such that the tip of the wide blade ends anywhere within 1 inch above or below the waistband. If the thin blade descends below the wide blade, there are a number of ways to fix it. One is to choose a bigger knot; another is to tuck the thin blade into the shirt between the second and third buttons down; a third is described in Label, below.
Tie handkerchief
If you can't make up your mind as to whether to wear a tie, you can keep the option open and put the tie in the breast pocket of your jacket, where it doubles as a handkerchief. This looks best with solid-colored ties, with the tie folded in half three times over, to one-eighth of its original length.
Dimple
'When the fabric of the tie permits (if it is silk twill or a supple Jacquard silk, for example), a beautiful effect can be obtained by using the index finger to press a slight convex cavity into the tie just below the knot. The French call this little hollow a cuillère, which means spoon or scoop' explains François Chaille in The Book of Ties. This hollow is called a dimple in English, and it is best suited to wide and medium width ties. But while one dimple is smart, two is very much an affectation.

Label
On the back of the wide blade a small horizontal band can be found, usually a label with the name of the maker or, on better-made ties, a band of the same material as the tie itself. While most men slip the thin blade through this band to secure it, it is arguably smarter to leave it free to flow. If the thin blade is too long after the tie is tied, one way of shortening it is to slip the excess through the label and pass the thin blade through it, as shown.
Storage
Tie experts are divided over the best way to store a tie. Some say that a tie should be rolled up in a coil when not in use, starting from the thin end. Others suggest simply hanging it from the middle over a hanger or bar. In either case a tie should never be left knotted when not in use, which tends to leave heavy creases in it. It is possible, of course, to tie a tie once and never untie it, but this comes at the expense of wearing the same knot, tied with the same execution, whatever the occasion, collar style, or mood.
Cleaning
It is often said that ties should never be dry-cleaned, but this is not quite true. It is not the cleaning but the inevitable pressing afterwards which most harms a tie, and the latter can be avoided if a cleaner is warned beforehand. Nonetheless a tie should not be cleaned unless it shows visible marks or stains. The death of a much-loved tie invariably results from the fraying of the wide blade's bottom edges, which usually happens long before any other part of the tie wears out. The solution is to have the tie shortened by half an inch, which many alterations tailors will do if asked. It is a somewhat delicate operation but, if done with care, it can double a tie's life.
No tie
Much has been said about the demise of the tie, and throughout the last hundred years its death has been repeatedly prophesied. It should be borne in mind, however, that knotted neckcloths have been standard attire for 350 years, and if the tie does vanish something knotted around the neck will almost certainly replace it. If you do decide to wear a suit without a tie, however, here are a few pointers. Always wear a dress shirt (a shirt with buttons all the way down the front); a suit with a t-shirt always looks faintly ridiculous. Keep the top one or two buttons of your shirt unbuttoned. If you take off your tie and jacket, think about rolling up your sleeves as well.

 

[AnandaHya]

lol

3 John 1

Greeting to Gaius

1 The Elder,

To the beloved Gaius, whom I love in truth:

2 Beloved, I pray that you may prosper in all things and be in health, just as your soul prospers. 3 For I rejoiced greatly when brethren came and testified of the truth that is in you, just as you walk in the truth. 4 I have no greater joy than to hear that my children walk in truth.[a]
Gaius Commended for Generosity


5 Beloved, you do faithfully whatever you do for the brethren and for strangers, 6 who have borne witness of your love before the church. If you send them forward on their journey in a manner worthy of God, you will do well, 7 because they went forth for His name’s sake, taking nothing from the Gentiles. 8 We therefore ought to receive[c] such, that we may become fellow workers for the truth.
Diotrephes and Demetrius


9 I wrote to the church, but Diotrephes, who loves to have the preeminence among them, does not receive us. 10 Therefore, if I come, I will call to mind his deeds which he does, prating against us with malicious words. And not content with that, he himself does not receive the brethren, and forbids those who wish to, putting them out of the church.
11 Beloved, do not imitate what is evil, but what is good. He who does good is of God, but[d] he who does evil has not seen God.
12 Demetrius has a good testimony from all, and from the truth itself. And we also bear witness, and you know that our testimony is true.
Farewell Greeting


13 I had many things to write, but I do not wish to write to you with pen and ink; 14 but I hope to see you shortly, and we shall speak face to face.

 

[wwjd_kilden]

I actually have to learn a bit about this....:



Grounded theory (GT) is a systematic methodology in the social sciences involving the generation of theory from data.[1] It is mainly used in qualitative research, but is also applicable to quantitative data.[2]
Grounded theory is a research method that operates almost in a reverse fashion from traditional research and at first may appear to be in contradiction to the scientific method. Rather than beginning with a hypothesis, the first step is data collection, through a variety of methods. From the data collected, the key points are marked with a series of codes, which are extracted from the text. The codes are grouped into similar concepts in order to make them more workable. From these concepts, categories are formed, which are the basis for the creation of a theory, or a reverse engineered hypothesis. This contradicts the traditional model of research, where the researcher chooses a theoretical framework, and only then applies this model to the phenomenon to be studied.[3]


Grounded theory was developed by two sociologists, Barney Glaser and Anselm Strauss. Their collaboration in research on dying hospital patients led them to write the book Awareness of Dying. In this research they developed the constant comparative method, later known as Grounded Theory.[4]
[edit] Split in methodology

Since their original publication in 1967, Glaser and Strauss have disagreed on how to conduct grounded theory, resulting in a split in the theory between Straussian and Glaserian paradigms. This split occurred most obviously after Strauss published Qualitative Analysis for Social Scientists (1987). Thereafter Strauss, together with Juliet Corbin, published Basics of Qualitative Research: Grounded Theory Procedures and Techniques in 1990. This was followed by a rebuke by Glaser (1992) who set out, chapter by chapter, to highlight the differences in what he argued was original grounded theory and why, according to Glaser, what Strauss and Corbin had written was not grounded theory in its "intended form". This divergence in methodology is a subject of much academic debate, which Glaser (1998) calls a "rhetorical wrestle".
According to Kelle (2005), "the controversy between Glaser and Strauss boils down to the question of whether the researcher uses a well defined 'coding paradigm' and always looks systematically for 'causal conditions,' 'phenomena/context, intervening conditions, action strategies' and 'consequences' in the data, or whether theoretical codes are employed as they emerge in the same way as substantive codes emerge, but drawing on a huge fund of 'coding families.' Both strategies have their pros and cons. Novices who wish to get clear advice on how to structure data material may be satisfied with the use of the coding paradigm. Since the paradigm consists of theoretical terms which carry only limited empirical content the risk is not very high that data are forced by its application. However, it must not be forgotten that it is linked to a certain micro-sociological perspective. Many researchers may concur with that approach especially since qualitative research always had a relation to micro-sociological action theory, but others who want to employ a macro-sociological and system theory perspective may feel that the use of the coding paradigm would lead them astray." [5]

 

[resurrection33]

Fascinating ...

 

[Jullianna]

Kooper, I laughed so hard at yours!!!!

CCG, I'm actually one of those wierdos who love Shakespeare. It was great

 

[christiancollegegirl]

The only Shakespearean thing I've liked so far is Taming of the Shrew.

 

[wwjd_kilden]

I've been part of setting up a play for a Midsummernights dream.... (but then halfway through the year I left the class and joined photography in stead)
I liked the play though

 

[christiancollegegirl]

I like both theater and photography.

 

[jandian]

Hardy Har har har... Ok i was going to try..... but I just dont have the patience...at least not for that

 

[Jullianna]

The only Shakespearean thing I've liked so far is Taming of the Shrew.

OOOOOOOOOOOOOOOOOOOO! That's a good one! There have been a lot of movies modeled after it too.

 

[christiancollegegirl]

I like the American Conservatory Theaters version best. I've seen it a million times.

 

[Scotty]

Deaf culture describes the social beliefs, behaviors, art, literary traditions, history, values and shared institutions of communities that are affected by deafness and which use sign languages as the main means of communication. When used as a cultural label, the word deaf is often written with a capital D, and referred to as "big D Deaf" in speech and sign. When used as a label for the audiological condition, it is written with a lower case d.
Members of the Deaf community tend to view deafness as a difference in human experience rather than a disability.[1] The community may include family members of deaf people and sign-language interpreters who identify with Deaf culture and does not automatically include all people who are deaf or hard of hearing.[2] According to Anna Mindess, "it is not the extent of hearing loss that defines a member of the Deaf community but the individual's own sense of identity and resultant actions."[3] As with all social groups that a person chooses to belong to, a person is a member of the Deaf community if he or she "identifies him/herself as a member of the Deaf community, and other members accept that person as a part of the community."[4]
Deaf culture is recognised under article 30, paragraph 4 of the United Nations Convention on the Rights of Persons with Disabilities, which states that "Persons with disabilities shall be entitled, on an equal basis with others, to recognition and support of their specific cultural and linguistic identity, including sign languages and deaf culture."
Acquisition of Deaf culture




Historically, Deaf culture has often been acquired within schools for the deaf and within Deaf social clubs, both of which unite deaf people into communities with which they can identify.[1] Becoming Deaf culturally can occur at different times for different people, depending on the circumstances of one's life. A small proportion of deaf individuals acquire sign language and Deaf culture in infancy from Deaf parents, others acquire it through attendance at schools, and yet others may not be exposed to sign language and Deaf culture until college or a time after that.[3]
Although up to fifty percent of deafness has genetic causes, less than five percent of deaf people have a Deaf parent,[5] so Deaf communities are unusual among cultural groups in that most members do not acquire their cultural identities from parents.[6]
Students at a school for the deaf in Baghdad, Iraq
(April 2004).


Diversity within Deaf culture

Anna Mindess notes that there is "not just one homogenous Deaf culture."[3] There are many distinct Deaf communities around the world, which communicate using different sign languages and exhibit different cultural norms. Deaf identity also intersects with other kinds of cultural identity. Deaf culture intersects with nationality, education, race, ethnicity, gender, class, sexual orientation, and other identity markers, leading to a culture that is at once quite small and also tremendously diverse. The extent to which people identify primarily with their Deaf identity rather than their membership in other intersecting cultural groups also varies. Mindess notes a 1989 study, which "found that 87 percent of black Deaf people polled identified with their Black culture first."[3]
Characteristics of Deaf culture

Sign languages

Members of Deaf cultures communicate via sign languages. There are over 200 distinct, naturally-occurring sign languages in the world. Although the United Kingdom and the United States share English as the most common spoken language, the sign languages used in these countries differ markedly. Due to the origins of deaf education in the United States, American Sign Language is most closely related to French Sign Language.
Apart from using sign languages, Deaf culture has typical beliefs, values, and arts that help to define it.
Values and beliefs

• A positive attitude toward being deaf is typical in Deaf cultural groups. Deafness is not generally considered a condition that needs to be fixed.[3]
• The use of a sign language is central to Deaf cultural identity. Oralist approaches to educating deaf children thereby pose a threat to the continued existence of Deaf culture. Members of Deaf communities may also oppose technological innovations like cochlear implants and hearing aids for the same reason.
• Culturally Deaf people value the use of natural sign languages that exhibit their own grammatical conventions, such as American Sign Language and British Sign Language, over signed versions of English or other spoken languages. Note that spoken English, written English and signed English are three different symbolic systems for expressing the same language.
• Deaf communities strongly oppose discrimination against deaf people.
• Deaf culture in the United States tends to be collectivist rather than individualist; culturally Deaf people value the group.[3]

Behavioral norms

• Culturally Deaf people have rules of etiquette for getting attention, walking through signed conversations, leave-taking, and otherwise politely negotiating a signing environment.
• Deaf people also keep each other informed of what is going on in one's environment. It is common to provide detailed information when leaving early or arriving late; withholding such information may be considered rude.[3]
• Deaf people may be more direct or blunt than their hearing counterparts.[3]
• When giving introductions, Deaf people typically try to find common ground; since the Deaf community is relatively small, Deaf people usually know some other Deaf people in common. "The search for connections is the search for connectedness."[3]
• Deaf people may also consider time differently. Showing up early to large scale events, such as lectures, is typical. This may be motivated by the need to get a seat that provides the best visual clarity for the deaf person. Deaf people may also be late to social events. However, at Deaf social events such as parties, it is common for Deaf people to stay for elongated amounts of time, for the solidarity and conversations at social gatherings are valued by Deaf people.

Literary traditions and arts

Main article: American Sign Language literature
A strong tradition of poetry and storytelling exists in American Sign Language and other signed languages. Some prominent performers in the U.S. include Clayton Valli, Benjamin Bahan, Ella Mae Lentz, Manny Hernandez, C.J. Jones, Debbie Rennie, Patrick Graybill, Peter Cook, and many others. Their works are now increasingly available on video.[7]
Culturally Deaf people have also represented themselves in the dominant written languages of their nations.[8]
Deaf artists such as Betty G. Miller and Chuck Baird have produced visual artwork that conveys a Deaf worldview.[6]
History

Deaf people who sign are intensely proud of their history. In the United States, they recount the story of Laurent Clerc, a Deaf educator, coming to the United States from France in 1816 to help found the first permanent school for deaf children in the country.[8]

Another well-known event is the 1880 Second International Congress on Education of the Deaf in Milan, Italy, where hearing educators voted to embrace oral education and remove sign language from the classroom.[9] This effort resulted in strong opposition within Deaf cultures today to the oralist method of teaching deaf children to speak and lip read with limited or no use of sign language in the classroom. The method is intended to make it easier for deaf children to integrate into hearing communities, but the benefits of learning in such an environment are disputed. The use of sign language is central to Deaf identity and attempts to limit its use are viewed as an attack.
Shared Institutions

Women's art class at State School of the Deaf, Delavan, Wisconsin, c. 1880

Deaf culture revolves around such institutions as residential schools for deaf students, universities for deaf students (including Gallaudet University and the National Technical Institute for the Deaf), Deaf clubs, Deaf athletic leagues, Deaf social organizations (such as the Deaf Professional Happy Hour), Deaf religious groups, and an array of conferences and festivals, such as the Deaf Way II Conference and Festival and the World Federation of the Deaf conferences.
Deaf clubs, popular in the 1940s and 1950s, were also an important part of Deaf culture. During this time there were very few places that the Deaf could call their own; places run by Deaf people for Deaf people. Deaf clubs were the solution to this need. Money was made by selling alcohol and hosting card games. Sometimes these ventures were so successful that the building used by the club was able to be purchased. However, the main attraction of these clubs was that they provided a place that Deaf people could go to be around other Deaf people, sometimes sharing stories, hosting parties, comedians, and plays. Many of today’s common ABC stories were first seen at Deaf clubs. The clubs were found in all of the major cities, New York City being home to at least 12. These clubs were an important break from their usually solitary day spent at factory jobs. [6]
In the 1960s, Deaf clubs began their quick and drastic decline. Today there are only a few spread out deaf clubs found in America and their attendance is commonly small with a tendency to the elderly. This sudden decline is often attributed to the rise of technology like the TTY and closed captioning for personal TVs. With other options available for entertainment and communication, the need for Deaf clubs grew smaller. It was no longer the only option for getting in touch with other members of the Deaf community. [6]
However, others attribute the decline of Deaf clubs to the end of WWII and a change of the job market. During WWII there was high demand for factory laborers and a promise of high pay. Many Deaf Americans left their homes to move to bigger cities with the hope of a factory job. This huge influx of workers into new cities created the need for Deaf clubs. When WWII ended and the civil rights movement progressed, the federal government started offering more jobs to Deaf men and women. People began switching from manufacturing jobs to service jobs, moving away from solitary work with set hours. Today, Deaf clubs are rare, but Deaf advocacy centers and other Deaf organizations have become widespread and popular. [6]
Deaf Space

Initially known as visu-centric design. This concept began at Gallaudet University with the Sorenson Language and Communication Center (SLCC) building. This was designed by the SmithGroup. "Designed in its entirety for the needs of the deaf and hard-of-hearing, this unique academic building establishes a new level of architectural accommodation." [10] With soft corners, diffused lighting and wide circular pathways SLCC allows total visual access and connectivity. Automatic sliding doors compared to the traditional swinging doors allow continuous conversation, without unnecessary pauses. Metal railings can become visual obstructions, therefore are replaced by glass railings. [11]
The SmithGroup has won the following recognitions for the Sorenson Language and Communication Center:

• Section Award, Illuminating Engineering Society of North America (IESNA), 2009
• Illumination Award of Merit, Illuminating Engineering Society of North America (IESNA), 2009
• Silver Award/Educational/Institutional, International Interior Design Association (IIDA), Mid-Atlantic Chapter, 2009
• Award of Excellence?Best Institutional Project, National Association of Industrial and Office Properties (NAIOP), Maryland/DC Chapter, 2009
• Institutional Award of Merit (submitted by Heery International), Mid-Atlantic Construction, 2008

"Eyeing the Future: Gallaudet University's new visu-centric facility promotes communication", Environmental Construction & Design, November 2008
"Gallaudet Eyes the Future with Visual Design", School Construction News, November 2008 [12]
Terminology

"deafness" and "Deafness"

In a clinical context, the term deafness (written with a lower case d) refers to a physical condition characterized by a relative lack of auditory sensitivity to sound compared to the species norm.[1] In a cultural context, the term "Deafness" (written with an upper case D) refers to cultural membership within a group that is composed mainly, but not exclusively, of people who are clinically deaf and who form a social community with an identity that revolves around deafness and the use of sign languages to communicate.[2]
"hearing-impaired"

The term hearing impaired is more likely to be used by people with a less than severe hearing loss and people who have acquired deafness in adulthood than by those who have grown up deaf. By contrast, those who identify with the Deaf culture movement typically reject the label impaired and other labels that imply that deafness is a pathological condition, viewing it instead as a locus of pride.[1]

 

[christiancollegegirl]

Gee, thanks for the flashback to my Intro to the Deaf Community and Deaf Culture classes.

 

[Scotty]

Brushing your teeth is very important to do. You must brush your teeth every day so you won't get cavities or gum diseases. Everybody knows this, but do you know the correct way to brush your teeth?






Steps

1. 1
   
   
   Use the proper toothbrush.Use the proper toothbrush. It should have soft nylon bristles and a small head. Soft bristles are gentler on your gums and will flex more easily to reach between the teeth while a small head allows you to reach all areas of your mouth.
2. 2
   
   
   Wet your toothbrush
   
   Wet your toothbrush slightly. By doing this, your gums will not be torn by the sharp bristles of the toothbrush.
3. 3
   
   
   Squeeze a pea-size amount of toothpaste onto your toothbrush.
   
   Squeeze a pea-size amount of toothpaste onto your toothbrush. Your toothpaste should contain fluoride.
4. 4Start on the inside of the lower front teeth, with the handle parallel to the row of teeth, just as you would to brush the outside of the same teeth. The concentrated "pea of toothpaste" will work harder at retarding the tartar that tends to accumulate here first.
5. 5 Tilt your toothbrush at a 45 degree angle to your gums and wiggle the brush on the bristle tips, working on just two teeth at a time, for 5-10 seconds. Clean the outside and inside surfaces of the teeth, as well as the chewing or "horizontal" surfaces.
6. 6 Brush (wiggle) along the gum line. This is extremely important, as gum disease starts here. Brush gently to avoid damaging your gums. Pressing harder does more damage than good. Make sure to get behind the molars at the back, where bacteria like to hide.
7. 7 Brush your tongue to remove bacteria that cause bad breath.
8. 8 Rinse your mouth out with water. This can be done by using a disposable cup, or even just cupping your hands and filling with water
9. 9 Floss after brushing. This helps get rid of bacteria and plaque between your teeth that you could not reach with your toothbrush.
10. 10 You should also use mouthwash to make your breath fresh and clean