OpenLLM-France/wikimedia huggingface dataset:
# Annotated Republic of China Laws/Immigration Act/Article 38-3

| ←Article 38-2 | Immigration Act Republic of China (Taiwan) Law Article 38-3 | Article 38-4→ |

## Promulgated addition on 2015-02-04, effective 2015-02-05
### Article 38-3

    The time spent on one of the following circumstances shall not be included in the twenty-four hour restriction indicated in Paragraph 2 of the preceding Article, unless there is no unnecessary delay:
* The time spent on an unavoidable delay caused by traffic obstruction or force majeure;
* The time spent during the transfer of an arrestee;
* The interview cannot be conducted due to a detainee’s health emergency;
* The person filing the objection according to Paragraph 1 of the preceding Article opposes the preparation of records at night;
* The records can’t be prepared without the presence of a defense attorney to represent the detainee. The time spent on waiting for an attorney should not exceed four hours. The same rule applies to waiting for persons named in Paragraph 1 of the preceding Article in case a detainee of unsound mind fails to provide a clear and complete statement;
* The records cannot be prepared without the presence of an interpreter that the detainee may require. The waiting time for an interpreter should not exceed six hours;
* The time spent while judicial authorities review a criminal case;
    Based on the proceeding paragraphs, the National Immigration Agency should specify the reason in the written report handed to the court.
    Should the National Immigration Agency fail to bring a detainee to court within twenty-four hours, the detention order shall be revoked and the detainee be released.

## Annotated by Wikibooks

* ↑ "Immigration Act". Immigration Office (Taiwan). 2015-04-30. Retrieved 2017-01-08.
# Annotated Republic of China Laws/Immigration Act/Article 38-5

| ←Article 38-4 | Immigration Act Republic of China (Taiwan) Law Article 38-5 | Article 38-6→ |

## Promulgated addition on 2015-02-04, effective 2015-02-05
### Article 38-5

    Upon learning that a criminal act has been committed by an alien detainee subject to judicial proceedings, the National Immigration Agency shall notify the relevant judicial authorities ten (10) days prior to the execution of forcible deportation. Unless the alien detainee is detained or banned from exiting the State under the law, the National Immigration Agency may forcibly deport or order the detainee to exit the State.
    Before this amended Act was enforced on January 23, 2015, an alien who falls under any of the circumstances listed in Paragraph 1 of Article 38 is suspected of involvement in a criminal act and is detained at a location designated by judicial authorities. Once convicted, the alien is detained for one (1) day at a detention location pursuant to Article 39, which is considered a one (1) day sentence, furthermore, the accumulated days of detention may also offset the fine (penalty) determined based on the provisions prior to the amendment of the Act.
    For aliens convicted of involvement in criminal activities who have not completed their sentences before December 9, 2011, their time served in detention places referred to in Article 39 before the enactment would be included in the sentences based on the previous offset provisions.
    Before this amended Act was enforced on January 23, 2015, an alien who is detained by the National Immigration Agency for no more than fifteen (15) days may file for a notice of motion or objection against the detention order in accordance with Paragraph 1 of Article 38-2. This can be done before a 15-day period provided that it is necessary to continue the detention. Thus, a continuation of the detention period may be applied for with supporting reasons submitted to the court.
    If an alien stated in the preceding paragraph, is detained for fifteen (15) to sixty (60) days or over sixty (60) days when the amendment was enforced, the National Immigration Agency shall necessarily apply for a continuation or extension of the detention period and submit supporting reasons to the court.
    Based on the proceeding two Paragraphs, the time period of detention before and after the amended Act was enforced on January 23, 2015 shall not exceed 100 days.

## Annotated by Wikibooks

* ↑ "Immigration Act". Immigration Office (Taiwan). 2015-04-30. Retrieved 2017-01-08.
# Annotated Republic of China Laws/Immigration Act/Article 74

| ←Article 70 to Article 73 | Immigration Act Republic of China (Taiwan) Law Article 74 | Article 75 to Article 88→ |

## Promulgated full amendment on 2007-12-26, effective 2008-08-01
### Article 74

    A person who enters and/or exits the State without permission or breaks an exit ban shall be punished with imprisonment for not more than three (3) years, detention, and/or a fine of not more than NT$ 90,000.

## Annotated by Wikibooks

* ↑ "Immigration Act". Immigration Office (Taiwan). 2015-04-30. Retrieved 2017-01-08.
# Annotated Republic of China Laws/Immigration Act/Article 38-7

| ←Article 38-6 | Immigration Act Republic of China (Taiwan) Law Article 38-7 | Article 38-8→ |

## Promulgated addition on 2015-02-04, effective 2015-02-05
### Article 38-7

    After the National Immigration Agency executes the temporary detention order or if the continued or extended detention is permitted by the court since the detention order is no longer valid, unnecessary, or refutable; the temporary detention order shall be revoked and the detainee would be released.
    In case an alien whose temporary detention order is revoked in accordance with Paragraph 1 of Article 38-1, or a detainee whose temporary detention is terminated, violates the detention conditions under Paragraph 2 of Article 38-1, the National Immigration Agency may cancel the bail bond.
    When the execution of forcible deportation of a detainee under Paragraph 1 is permitted, as well as continued or extended detention based on a court order, the National Immigration Agency should immediately provide information about the original ruling.

## Annotated by Wikibooks

* ↑ "Immigration Act". Immigration Office (Taiwan). 2015-04-30. Retrieved 2017-01-08.
# Annotated Republic of China Laws/Immigration Act/Article 38-8

| ←Article 38-7 | Immigration Act Republic of China (Taiwan) Law Article 38-8 | Article 38-9→ |

## Promulgated addition on 2015-02-04, effective 2015-02-05
### Article 38-8

    For an alien whose temporary detention is revoked in accordance with Paragraph 1 of Article 38-1, or a detainee whose temporary detention is terminated or suspended under Paragraph 1 of the preceding paragraph, and falls under any of the following circumstances; the National Immigration Agency may temporarily detain him/her if a compulsory exit order is difficult or impractical to enforce. A continuation of the detention period may be applied for in court prior to the end of the said detention period.
* Violated the detention conditions stated in Paragraph 2 of Article 38-1;
* The reason for terminating or suspending the temporary detention is no longer valid.
    The time period for repeated detention of an alien mentioned in the preceding paragraph shall be included in the detention period for the same case and shall not exceed 100 days.

## Annotated by Wikibooks

* ↑ "Immigration Act". Immigration Office (Taiwan). 2015-04-30. Retrieved 2017-01-08.
# Annotated Republic of China Laws/Immigration Act/Article 38-9

| ←Article 38-8 | Immigration Act Republic of China (Taiwan) Law Article 38-9 | Article 70→ |

## Promulgated addition on 2015-02-04, effective 2015-02-05
### Article 38-9

    The court may conduct remote proceedings for cases involving objections against detention, continued detention and extended detention.
    The methods, procedures and other regulations concerning operating processes that require the National Immigration Agency to send a detainee to court or remotely participate in a court proceeding as stated in the preceding paragraph shall be enacted by Executive Yuan together with the Judicial Yuan.

## Annotated by Wikibooks

* ↑ "Immigration Act". Immigration Office (Taiwan). 2015-04-30. Retrieved 2017-01-08.
# Branding a University Media Department/Who should be involved in the branding of a small private university media department?

If, according the Bill Oeschler (president of Ethnographic Media) branding includes "everything", then everyone should be involved. The obvious participants are faculty, students, alumni, professional advisors, and administrators, but it's possible that, over time, hundreds will help develop and evolve a successful brand.
# Branding a University Media Department/Universities must refine their niche

Discipline-based missions (“going into every person’s world”) might represent this university’s niche market, Is it possible to integrate missions in a course syllabus?
We have talked about a media major accompanying every mission. Who documents the experience? JH: Some students can't afford to participate in missions. (RB)
It's necessary to define "missions." (LH)
We cannot let the University’s idea of missions define our focus. (JH)
We should train students to tell God’s story unfolding in today’s world. (KA)
# Branding a University Media Department/Who are our competitors?

INSTITUTIONS WHOSE NICHE POSITION IS:
PROJECT-BASED http://online.fullsail.edu/gallery
COST State schools who are taxpayer-funded Two-year institutions supplying free tuition to students transitioning directly from high school to college
ACCREDITED
ONLINE
SCHOOL-SPIRITED
RESEARCH-BASED
# Branding a University Media Department/What is branding?

"Branding is easy to describe. It includes everything" - Bill Oeschler, President, Ethnographic Media.
Any company that is not well branded will fail in less than five years. This demise accelerates for smaller organizations" - NBC VP for marketing
"Branding is a way to create an emotional connection with a specific audience" - Troika, a network branding company.
# Branding a University Media Department/The structure of 15-week semester should be evaluated

Some programs have learned to be creative within a sixteen week structure. For example, the ORU MultiMedia Institute is a junior year experience within a four year liberal arts program.
# Branding a University Media Department/What are the immediate priorities to begin a branding process?
## It must be recognized that...

* We must be able to deliver on the promise of the brand. We should not overpromise or underpromise.
* We must understand our niche. Questions to ask: What is our program's/degree's point of differentiation? Is this significantly different than peer institutions or competitor schools?
* We must identify the primary audience. If the over-arching goal of branding is to recruit students, then the target audience should be P1: prospective students and their parents. Secondary audiences (P2) may include brand evangelists such as alumni, church youth pastors, guidance counselors, employers, etc.
* We must address other barriers to the P1 decision-making process.
- Costs (money and time) - Academic standards - Current technologies being taught/learned - Friendships - Faculty - Degree flexibility/marketability
* We must intersect our point of differentiation with the reasons our primary audience should believe us. What are the stories we should tell? How should we tell them? How is the story disseminated to multi-platforms such as online, email, mobile, video, social media, traditional channels (TV, radio, print, advertising, public relations, events) and more?
* A web presence must be one of the highest priorities and that the site’s media content should reflect all aspects of the program.
* An updated branding campaign must surpass what has preceded it, regardless of previous financial investments.
* A script must be created for the story to be told to this unique audience.
* A framework is required to begin the process and, at the outset, the scaling up a media brand must be considered. What must we build into the framework to keep telling our story?
* A communication arts brand must be a subset of the greater university's brand, but also more dynamic and student centered.
* Professors and programs that show commitment and initiative to the branding process should be addressed first.
* A communication, arts and media department is unusually diverse.
# Branding a University Media Department/What are the immediate obstacle to a media department's branding process?

Here are a few obstacles to start with:
* Time,
* Energy
* Budget
Here are a few ways to overcome these obstacles:
* Creative imagination.
* Discontinue less productive activities including anything not vital for success.
These are motivations to refine a clear brand:
* Schools can't recruit without a clear brand.
* A brand's vision, mission and niche description should define all other activities. If it doesn't fit the brand, don't do it.
# Branding a University Media Department/Premises for discussion and consideration
## Premises contributed by faculty members

* Media producers are, primarily, storytellers (digital story telling has become pervasive). This university is committed to telling stories that can make an eternal difference, not just entertain.
* The customers (students) are experiential, participatory, image driven and community driven (as described in the literature of Tim Elmore).
* We must provide proof of the brand with delivery on the promise.
* Every media school must focus on a niche, that is, one thing that school can better than any other.
* A media school’s brand must be professional and intentional.
* In light of current trends, fluctuating job markets and an unpredictable economy, a media school’s academic structure must be flexible and able to change more quickly than demonstrated by historical precedence. One example for how this can be accomplished is in the naming of things. A flexible name for a class might trim six months off of the approval process to integrate new ideas. These increasingly flexible names evolved over 16 years for an interactive class: 1) Intro. To Photoshop, HTML, Flash and Browers 2) Weaving Websites. 3) Intro. to Interactive Media. 4) Digital Storytelling One
* Change is a constant. Anything not changing is has died.
* Modern media departments require adaptability and flexibility. It’s how you design the “frame” that matters. Content can change when the name of a course is flexible, i.e., “Dance Forms Class” allows variety within its structure.
* Peer-to-peer and professional mentor relationships and apprenticeships are essential.
* Academia should be structured on content and use “spiral structure” allowing a teacher to cover ideas once, and then circle back to a deeper level in order to cover more ideas.
* Training is essential for production work and is dependent on the amount of time and resources available. This is the reality of content creation.
* Students want to do the work, that’s how they want to learn
* A hybrid approach to learning is more effective. It can be achieved by integrating classes through joint projects and team teaching. Silo learning is over. It’s necessary to cross-teach concepts and understand what each other faculty are teaching.
* If recruiting is an over-arching objective, we must entice new students by showing them what they can expect of their college experience. Universities must meet the needs of continuants.
* It’s necessary to define “apprenticeship” in terms of modern learning.
# Branding a University Media Department/There's no room in a well established curriculum for "new media, it's already over-stretched

There's no room for new media within a media department's well established curriculum. Course work has been refined for decades until every professor in convinced that only the essentials remain. (DE)
Mobile media, social media, streaming media and a dozen other pervasive influences have never existed before, but represent primary trends (if not THE trends) in modern media. Professors do their best to assimilate, but new tools and trends don’t fit into an established curriculum. And when new technologies require a significant learning curve, teachers have every incentive to minimize their importance.
It's not possible to add something new to an already over-stretched curriculum unless something is deleted. It's necessary to teach more in less time in order to make room for the "new" but there's already too much momentum in the wrong direction. Teachers must define their core content and almost NOTHING is "core" to a curriculum - nothing is sacred. (DE)
A faculty must "clean house" and define the fundamentals to keep. What classes are outdated? (LH)
It's necessary to delete duplications in classes, but professors don't know what everyone else is teaching. (KA)
Perhaps we should videotape EVERYTHING that is repeated more than once, provide students a video link and quiz them the content for verification. (DE) There are technical barriers to effortless recording/publishing, so perhaps the only alternative is to stop teaching certain things. (JH)
# Blender 3D: Noob to Pro/Python Scripting/Tutorial (Blender 2.4.9)

The original tutorial that this text stems from can be found at Blender 3D: Noob to Pro/Advanced Tutorials/Python Scripting/Export scripts.
Some prerequisites:
* Familiarity with Blender.
* Fundamental understanding of python. (read the Python manual once, do the tutorials)
* Most importantly: a desire to learn. Understanding of the material will increase as we progress, along with complexity
To accompany this tutorial, bookmark: http://www.blender.org/documentation/248PythonDoc. 248PythonDoc covers all exposed methods that we can access via Python. It will benefit you to have a browse through it once at your own pace, before going further, even if little of it makes sense.
NOTE: I use Windows so some info here may be different on Mac OS X and Linux.
Change a windowtype to Scripts, then click Scripts → System → Interactive Python Console. This will display a console not unlike the IDLE that comes with Python distributions. The window will display some useful information, read it once. The last few lines will read:
This has imported modules and methods so that you can draw, query and manipulate scene objects.
Let's look at some existing scripts, to do so we can change the windowtype to Text Editor and open one of the scripts in the .blender/scripts folder. Any of the scripts that appear in the scripts menu of the Interactive Python Console will start off with some standard bookkeeping like the following lines:
# Blender 3D: Noob to Pro/Python Scripting

| previous module: "Python Platformer: Creation" | • Table of Contents • Glossary | next module: "Introduction" |
One of Blender's powerful features is its Python API. This allows you to interface with Blender through the Python programming language. The Python interface allows you to control almost all aspects of Blender, for example you can write import or export scripts for meshes and materials of various formats or create procedurally generated textures. You can also create complete animations procedurally and write scripts to modify existing scenes in any way you can think of. On top of all, you can easily create a user interface for your script, transforming it into a generally usable tool.
The relevant section of the Blender User’s Manual is here.
Download Python Scripts from the Blender site here.
This forum on blenderartists.org discusses Python scripting.

## Chapter contents

* Introduction
* Anatomy Of An Addon
* A User Interface For Your Addon
* Adding A Custom Property
* A Separately Installable Addon
* Object, Action, Settings
| previous module: "Python Platformer: Creation" | • Table of Contents • Glossary | next module: "Introduction" |
# Blender 3D: Noob to Pro/Quickie Lighting

| previous module: "More Mesh Editing Techniques" | • Table of Contents • Glossary | next module: "Quickie Model" |
Open a new default Blender document. Without doing anything else, hit F12 to render the default cube with the default settings. The result should look something like the image to the right.
Note the lower left visible face of the cube is completely black because the default light is at the upper right.
Go back from the render to the 3D view ( F11 ). Now select (with RMB ) the default light, and either delete it or move it to another layer (with M ). Go to your World tab in the Properties window, and look for the Environment Lighting panel:
Check the box next to the title, and leave the “E:” (energy) value at its default 1.0. This gives us a pervasive, directionless light, illuminating all objects equally from all directions, which means there will be no shadows. Do another render, and it should now look like the image to the right.
See how we have gone from inky-black shadows to no shadows at all. In the real world, lighting is almost never perfectly uniform, and this variation of light and shade is important to help us distinguish details of the scene around us. Without such variations, everything devolves into featureless blobs.
Now undo your deletion of the default lamp (or move it back to layer 1). Enable Environment Lighting again, but this time lower the Energy value to 0.1. Do another render, and it should now look like the image to the right. The shadowed face is still shadowed, but not enough to make it impossible to see any details it may have. This is usually the type of effect you want, unless you are aiming for really dramatic contrasts.
So the lesson is:
As you learn more, you will find that it is common to use two or three lights, or even more, to ensure proper illumination of a scene. In simple tutorials, where no explicit details are given about lighting, you can probably get by with the default light, plus some environment lighting (as we added earlier) to soften the shadows.
| previous module: "More Mesh Editing Techniques" | • Table of Contents • Glossary | next module: "Quickie Model" |
# A Beginner's Guide to D/Templates and Generic Programming/Template Functions

Just as template classes allow the writing of generic data structures, template functions allow the writing of generic algorithms. Generally speaking, template functions allow the library writer to write functions for argument types without having to overload the function with the same code.

## Syntax

A template function looks like a regular function with two sets of arguments:
The first set of arguments are the template arguments. (See the section on template classes for what are allowed as template arguments.) The second set of arguments are the regular function arguments.
In the case of the above example, the function can just be called by passing the regular function arguments. D will derive the template parameters automatically based on the types of the arguments. This is called implicit function template instantiation, or IFTI for short.
Function templates may be explicitly instantiated like any other template, as in foo!(int, char)(12, "hello").

## Example

The classic example of a template function is the min function:
This function determines which of any two arguments (of the same type) are smaller. (With the stupid caveat that it will return the second argument if they are equal.)
(A note about the second example. We pass min a slice of "green", because otherwise D will infer the type of the argument to be char[5], a static array. The type of "blue" is char[4], a different type. By slicing "green", we get a char, a dynamic array, and D knows how to implicitly convert "blue" to this type.)
# A Beginner's Guide to D/The Basics/Basic Input

The built-in capabilities of D (meaning the capabilities of the runtime library Phobos) for input from a console (alias terminal or DOS-Box) are very restricted.
Here is a simple program that demonstrates string input with din.readLine which reads a complete line of input. A line means all characters typed until the user pressed RETURN on keyboard. It doesn't mean a physical line in the console-window which is usually 80 characters wide.