OpenLLM-France/wikimedia huggingface dataset:
# Computational Constructor
### Intent

* Optimize return-by-value
* Allow Return Value Optimization (RVO) on compilers that cannot handle Named Return Value Optimization (NRVO)

### Motivation

Returning large C++ objects by value is expensive in C++. When a locally created object is returned by-value from a function, a temporary object is created on the stack. The temporaries are often very short-lived because they are either assigned to other objects or passed to other functions. Temporary objects generally go out-of-scope and hence destroyed after the statement that created them is executed completely.
Over the years compilers have evolved to apply several optimizations to avoid creation of temporaries because it is often wasteful and hampers performance. Return Value Optimization (RVO) and Named Return Value Optimization (NRVO) are two popular compiler techniques that try to optimize away the temporaries (a.k.a. copy elision). A brief explanation of RVO is in order.
Return Value Optimization
The following example demonstrates a scenario where the implementation may eliminate one or both of the copies being made, even if the copy constructor has a visible side effect (printing text). The first copy that may be eliminated is the one where Data(c) is copied into the function func's return value. The second copy that may be eliminated is the copy of the temporary object returned by func to d1. More on RVO is available on Wikipedia
Following pseudo-code shows how both the copies of Data can be eliminated.
Named Return Value Optimization (NRVO) is a more advanced cousin of RVO and not all compilers support it. Note that function func above did not name the local object it created. Often functions are more complicated than that. They create local objects, manipulate its state, and return the updated object. Eliminating the local object in such cases requires NRVO. Consider the following somewhat contrived example to emphasize the computational part of this idiom.
In the above example, function getfile does a lot of computation on object f before returning it. The implementation cannot use RVO because the object has a name ("f"). NRVO is possible but its support is not universal. Computational constructor idiom is a way to achieve return value optimization even in such cases.

### Solution and Sample Code

To exploit RVO, the idea behind computational constructor idiom is to put the computation in a constructor so that the compiler is more likely to perform the optimization. A new four parameter constructor has been added just to enable RVO, which is a computational constructor for class File. The getfile function is now much more simple than before and the compiler will likely apply RVO here.

### Consequences

A common criticism against the computational constructor idiom is that it leads to unnatural constructors, which is partly true for the class File shown above. If the idiom is applied judiciously, it can limit the proliferation of computational constructors in a class and yet provide better run-time performance.

### References

* Dov Bulka, David Mayhew, “Efficient C++; Performance Programming Techniques”, Addison Wesley
# Issues in Interdisciplinarity 2019-20/Truth in cults
## Introduction

* Data or facts about cults
* why are the 2 disciplines linked to cults
* Outline where the interdisciplinary issue actually is
* Why is it interesting to work on this
INSTRUCTIONS:
* How the issue chosen plays out in 2 disciplines facing a topic
* Showing how truth plays a role in 2 disciplines (for ex ; sociology, law, religious) creating a tension in the definition of cults
* The tension between the disciplines specifically with regard to global surveillance/censorship

## In Sociology

In sociology, this definition of cults is considered as true : « Cults are organizations or groups of people reunited under a charismatic leader, where members are under psychological influence, and exploited, either financially, sexually or any other type of exploitation »

## In Law

In law, a cult is considered as valid if it is « a group of individuals with some common religious or metaphysical-philosophical ideology » simply.

## In Psychology

Psychology’s view on cults differs, again, underlining there is a clash between disciplines, which makes interdisciplinary work on cults difficult.

## In Religious studies

Religion studies also considers « true » other characteristics of a cult. In Religious Study, what is true is that « Cult + time = Religion »

## Conclusion

What is therefore true about cults and what is not ? How can the multiple definitions of cults in plural disciplines makes this interdisciplinary work challenging ?
# Evidence in the Existence of an Afterlife
## evidence (religious, neurosciences, biological, arts, psychedelics, literature, historical *ie like people waking up after being “dead” for 10 minutes)
### Religion

Different religions → Heaven vs Hell, Christianity / Catholicism Buddhism (reincarnation)

### Science

Psychedelic drug experiences Neuroscience: Brain is still alive after ______ of death; analysis of brain activity Law of conservation of energy (can link to environmental science)

### Philosophy

Different philosophical persepectives on existence/non-existence of afterlife
# MATLAB Programming/Polar Plot
## Introduction

The polar command accepts polar coordinates, plots them in a Cartesian plane, and draws the polar grid on the plane.

## Usage

Here's how a plot can be created.
# MATLAB Programming/Psychtoolbox/Example Code
## Examples

* Imageviewer - show an image on the screen (OSX)
* OpenManyScreens - open a window on all connected displays (OSX)
* xsearch - generic visual search code (OS9/WIN)
* ImgShow - loads a series of images from disk and displays them for the period of time specified, in random order (OS9/WIN)
* eyelink toolbox - use an sr-research eyelink video eyetracker together with the cross-platform opengl psychtoolbox (OSX/win)

## Helpful scripts

* MATLAB Programming/Psychtoolbox/Version independent scripts - Scripts to allow you to write programs that run on all versions of psychtoolbox.

## Code Snippets

* Function that takes a list of desired keys and returns the number of the one that was pressed and is nearer to the front of the list that was passed. It ignores other keypresses.
* Wait for a key press, continue after two seconds
* Bring command window to front. Even though it won't come in front of a window opened by Screen, it is useful to include this, as it allows you to type e.g. Screen('Closeall') to close the window of a crashed program
* Issue: KbCheck doesn't appear to wait for key presses, exits loop earlier then expected, continues to return key presses. Solution: make sure you first wait for any keys to be released. For example:
# MATLAB Programming/Psychtoolbox/Example Code/Imageviewer

Back to Examples
# MATLAB Programming/Psychtoolbox/Example Code/OpenManyScreens

Back to Examples
# Natural Disasters/Volcanic Eruption

Volcanic eruptions are incredibly dangerous phenomenon. While popular culture portrays lava as the primary concern, there are actually a number of dangers associated with volcanic activity.
* Pyroclastic Flows
* Ash
* Volcanic debris
* Toxic gas
# Natural Disasters/Very Warm Temperature
## Introduction

In instances where temperatures rise to very high levels, it is critical that you find some way to keep cool. Heatstroke can kill.

## Mitigation

* Stay in an air conditioned location.
* Drink water to counter fluids lost by sweat.
* Do not leave people or pets locked in cars.
* Wear loose light clothing that keeps the sun off your body.
* Heat Waves can make wildfires more likely.

## References

* 1 2 3 "Extreme Heat". FEMA. Retrieved 16 October 2021.
* 1 2 3 "Extreme Heat | Ready.gov". www.ready.gov. Retrieved 16 October 2021.
* ↑ "Extreme heat: heat waves". www.canada.ca. Health Canada. 11 November 2011. Retrieved 16 October 2021.
# Nature/Basic statements

The 3 main categories of science

## 10 basic scientific statements

1. The world is made of matter, energy and information. The first two can show many different forms and structures, described as information.
2. The world is ruled by four physical forces: The weak and strong force in atoms, the electromagnetic force and gravitation. These forces can act on objects, although there must not be a direct physical contact between them.
3. Atoms are the smallest parts of mater, which still have distinct chemical properties. Atoms can be further divided into elementary particles. There are more than 90 different sorts of atoms (elements), which can join together to a variety of different molecules. The smallest parts of radiation are so called photons. They also have a wave character.
4. The world has gone through a long history, which lasted more than 10 billion years. This development followed strict scientific laws. Sun and earth are also very old. The sun produces lots of energy by nuclear fusion and delivers part of that energy in a billion years old stream of sunlight to the earth.
5. The start of life on earth is a rather seldom cosmic incident in an surrounding that is not favourable for life in a huge and quite empty universe. The existence of extraterrestrial life is possible, but there is no proof for it yet.
6. The development of life has been a natural process without an aim. The first forms of life wher preceded by a chemical evolution of self organizing and copying molecules. Out of them multiplying units emerged. These units joined to bigger cellcolonies and more complicated organisms. Mankind is also a product of this development. But, there is no true scientific way to explain the complexity of the beginning of life.
7. The plan for each form of life is found in its genes. The biological evolution partly follows the laws of randomness ( mutation, variation, recombination), partly it follows not random rules (selection). Biological evolution shows a trend to develop more sophisticated structures and organisms. But biological evolution did not follow a plan or did have no aim.
8. The human brain and the human mind are instruments of survival for us. They allow it, to drive the right conclusions about our environment and ourselves. But the human senses can fail. Man can make mistakes.
9. Everything in the world happens in a natural way. Science was very successful to look at any supernatural explanation very critical. In doubt the supernatural explanation is rejected and a natural solution is searched for.
10. Every human being must die. The active mind and the active soul of every man and woman are mortal. They die latest when their body dies. The whole life on erath is mortal and will die latest when the sun will burn out.
These basic statements cannot be proofed more or less well. Mostly they are still in scientific discussion. -
# Natural Disasters/Wildfire
## During

* Wildfires can move with surprising speed.
* If you are ordered to evacuate, do so.
# Nature
## Contents
### Prologue

* Preface
* Introduction
* Basic statements of the scientific worldview

### The basics

* What is nature?
* Matter, energy and information
* Atoms, molecules, elementary particles, photons
* The four forces
* Space and time

### The history of nature

* The history of inanimate nature, astronomy
* What is life?
* The evolution of life
* The evolution of man

### The human mind and its performance

* How do we see the world?
* Spirit, soul, consciousness, free will
* Good and evil in nature, conscience
* Basics of a natural ethic
* Achievements of man, transcendence of nature

### The natural sciences

* What are the natural sciences and how do they work?
* What are laws of nature?
* Boundaries of the scientific worldview and the limits of nature
* The big errors of science
* The open questions in science
* Natural criticism of other worldviews
* Criticism of science and its worldview

### Epilogue

* What does the future look like?
# Movie Making Manual/Currently Untitled Studio (Pre-production)

For clarification, Currently Untitled Studio means just that, not that CUS is the name of the studio. The name will be changed as work progresses. In either case, this is a case study/log of events concerning production of a series of shorts undertaken by DorianGray (director) and a group of volunteers.
Note: The first few weeks of work are not dated, or have only been dated by the accuracy of memory. Specific items such as previous ideas, names, and storylines/scripts will not be mentioned or changed for privacy, liability and copyright reasons. These will possibly be changed as work progresses/finishes.

## Development

* Finding a Story
* Begging for Backing
* Contracts

## Pre-Production

* Storyboarding
* Casting
* Location Scouting
* Budgeting
* Schedule
* Paperwork

## Production

* Cinematography etc.
* Sound Recording
* Tracking and Management

## Post-Production

* Soundtrack
* Editing
* Formatting

## Exhibition and Release

* Exhibition
* Distribution

## End Notes

* Observations
* Things to Improve On
# Movie Making Manual/Clapper board

You can use a clapper board to identify which scenes you wish to include. For example, you could write the TAKE number and the SCENE number, so while editing you can just select the thumbnail with the information you selected to include in your final movie, and trim the scene and add it to the final movie. In North America, the clapper is referred to as a slate. It's use is as follows. The assistant cameraperson "AC" asks the script supervisor which scene and take is up. This is written on the slate with either chalk or marker. If there is sound recorded, then the clapper sticks are hit together so the editor has both a visual cue (the first film frame with the sticks together) and a sound cue (the clap).
It is often perceived that the slate is always clapped, but for much of the film there is no sound (only necessary for synronizing the actors lips with their dialogue) and the slate is put in frame closed. Slating is the last thing that happens before the action can start, however in some circumstances where it's unclear when the event might happen (as an explosion) the camera will be slated or "marked" at the end of the action, called an "end-slate." <http://www.studio1productions.com/clapboards.htm> <http://www.gomediamonkey.com/proddetail.php?prod=MEDSlateENG>
# Movie Making Manual/Colour Grading

Colour grading is the process of manipulating each shot in a film in order to achieve a certain 'look'. The producer/director will require that the whole movie has the same range of colour saturation, contrast, highlights and shadows. The colour treatment is very important in conveying an emotional context that is consistent with and complements the action, sound design and musical treatment of the movie. Simple, but extreme examples are Bollywood extravaganzas that use strong lighting and clear saturated colors to complement a simple story. In contrast, art movies may use low contrast lighting, a palette of soft colours and subtle tones to convey a subtle nuanced story. The Lighting Cameraman or Director of Photography will be shooting to create the desired look, but colour grading is always necessary to fine tune the raw footage.
The job of colour grading is usually done by the editor, in lower budget work, or in higher budget productions the task falls to a specialist referred to as the colourist. Professional colourists can use sophisticated digital finishing units such as the Davinci 2k system.
Grading normally starts with analysis and colour correction of each shot to fix problems such as unwanted colour casts. Next, the colourist can use a myriad of techniques to colour the scene to reflect the artistic preference of the producer/director (for example, reducing saturation can give the scene a bleak look). Once a look is decided upon the grading process for the rest of that scene (or even the whole film) is generally routine, as the colourist aims to provide consistency between shots.
# MMM Contributors

This is a list of the Movie Making Manual's contributors in alphabetical order. Add your name here!
A
* Abdessamad IDRISSI
* Academy
* Alex Elliott
B
* Ben Ford
* Bryan See
C
* cauri jaye
* Chris Smith-Naill - created DV volume
* Chris Van Patten
* Christopher Ferris Zabaneh
D
* Dave Herman
* David Wigram
* Dorian Gray
I
* Illusional
J
* Jack Kelly AKA Daniel
* jaye
K
* K. Paschke
* Kushboy
M
* Marshall Lewis
* May
* Michael Scott
N
* Norman Cho
O
* Orethrius van Degaurde
P
* Paul Schuh
R
* regre7 (of Wikipedia)
* Robert Elliott (Purser), Tech Support, Star Movie Shop
* Rob Kohr
S
* Simon Tzu
T
* Tooth
# Movie Making Manual/Crew Contract

"VEGAS DON ENTERPRISE Productions"
CREW RELEASE FORM
I, __________________________ do hereby confirm the consent heretofore given you with respect to your photographing me in connection with your motion picture/video: Title: "Fame Deadline" Production Number: 1 and I hereby grant to you, your successors, assigns and licensees the perpetual right to use, in any manner or in any media currently existing or which may be developed in the future, as VEGAS DON ENTERPRISE Productions " may desire, all video, still and motion pictures and sound track recordings and records which you may make of me or of my voice, and the right to use my name or likeness in or in connection with the exhibition, advertising, exploitation or any other use of such motion picture or recording. I understand that "VEGAS DON ENTERPRISE Productions" will provide to me a copy of the film on DVD or other media for my personal use only. I will not sell said copy or use it for any commercial purposes such as broadcasting, streaming online or Home Video-DVD releases. I shall receive a limited license to use the copy for personal promotional purposes, which shall be limited to using a maximum of 30 seconds of the film on my personal website. I also understand that it takes a significant amount of time to complete a film – and in some cases aome films are abandoned and not completed at all. If the filmmaker has promised a tape of the film, I agree to allow a reasonable amount of time to elapse after the performance for completion (i.e. one year). I agree that should the film/tape not be completed I will take no action against "VEGAS DON ENTERPRISE Productions " or its Owners.
I am over eighteen years of age. (initial here) _____
I am under eighteen years of age. (initial here) _____ Parent/Guardian signature required.
signature : _______________________________ (Parent/Guardian if under eighteen years of age) name (print) : _______________________________ home address : _______________________________ phone number : _______________________________ character name: _______________________________
date: _______________________________
release form revised / /
# Japanese/Reader/Pocket Watch
## 懐中時計

夢野久作(ゆめの　きゅうさく)
懐中時計が箪笥の向う側へ落ちて一人でチクタクと動いておりました。 　鼠が見つけて笑いました。 「馬鹿だなあ。誰も見る者はないのに、何だって動いているんだえ」 「人の見ない時でも動いているから、いつ見られても役に立つのさ」 　と懐中時計は答えました。 「人の見ない時だけか、又は人が見ている時だけに働いているものはどちらも泥棒だよ」 　鼠は恥かしくなってコソコソと逃げて行きました。

## Vocab

| Kanji | Kana | English | Notes |
| wikt:懐中時計 | wikt:かいちゅうどけい | pocket watch | |
| wikt:箪笥 | wikt:たんす | chest of drawers | |
| wikt:向う側 | wikt:むこうがわ | far side |
| wikt:落ちる | wikt:おちる | fall down | |
| wikt:一人 | wikt:ひとり | one person | |
| wikt:チクタク | | tick-tock | |
| wikt:動いておる/wikt:動いている | wikt:うごいておる/wikt:うごいている | be moving | 動く (move) + …ている (progressive form) |
| wikt:鼠 | wikt:ねずみ | mice | |
| wikt:見つける | wikt:みつける | find | |
| wikt:笑う | wikt:わらう | laugh | |
| wikt:馬鹿 | wikt:ばか | idiot | |
| wikt:誰 | wikt:だれ | anyone | |
| wikt:見る者 | wikt:みるもの | watcher | 見る (watch) + 者 (person) |
| wikt:何だって | wikt:なんだって | why | |
| wikt:人 | wikt:ひと | person | |
| wikt:見ない | wikt:みない | not watch | 見る (watch) + …ない (negative form) |
| wikt:時 | wikt:とき | time | |
| wikt:いつ | | anytime | |
| wikt:見られる | wikt:みられる | be watched | 見る (watch) + …られる (passive form) |
| wikt:役に立つ | wikt:やくにたつ | be useful | |
| wikt:答える | wikt:こたえる | answer (verb) | |
| wikt:だけ | | only | |
| wikt:又は | wikt:または | or | |
| wikt:働く | wikt:はたらく | work (verb) | |
| wikt:もの | | person | |
| wikt:どちらも | | both | |
| wikt:泥棒 | wikt:どろぼう | thief | |
| wikt:恥かしい | wikt:はずかしい | shame | |
| wikt:コソコソ | | sneakily | |
| wikt:逃げて行く | wikt:にげていく | get away | |
# Japanese/Reader/The Bamboo Princess

AN old bamboo-cutter was going home through the shades of evening. Far away among the stalks of the feathery bamboo he saw a soft light. He went nearer to see what it was, and found it came from within one of the stalks.
He opened the bamboo stalk carefully, and found a tiny baby girl. She was only a few inches tall, but as beautiful as a fairy. Indeed he wondered if she were not really a fairy.
He carried her home and told his wife how he had found her. They were very glad for they had no child, so they loved her as their own. In a few years she had grown to be a young woman. She was as sweet and kind as she was beautiful. A soft light always seemed to follow her.
When the time came to name her they called her The Bamboo Princess, because she was found among the bamboo, and because she was more beautiful than any princess.
People heard of how beautiful she was, and many peeped through the hedge at the edge of the garden in hopes of seeing her. All who saw her thought she was so lovely that they came back for another glimpse.
Among those who came often to the hedge were five princes. Each one thought The Bamboo Princess the most beautiful woman he had ever seen, and each wished her for his wife.
So each of the five wrote to the father of the princess asking to marry her. It so happened that all five letters were brought to the old man at the same time.
The old man did not know which one to choose, nor what to do. He was afraid, too, that if he chose one of the princes, the other four would be angry. But the princess had a plan. "Have them all come here," she said, "then we can choose better."
On a certain day the five princes came to the house of the bamboo-cutter. They were very glad to have another chance to see her, and each one thought he would be the one she would marry.The princess did not wish to marry any of them. She wanted stay with her dear father and mother. She wished to take care of them as long as they lived. So she gave each one something to do which was impossible.
The first she asked to go to India and find the great stone bowl of Buddha. The second one was to bring her a branch from the jeweled trees that grew on the floating mountain of Horai.
The third prince asked what he might do to show his love. The princess said that he might bring her a robe made from the skins of the fire rats.
She asked the fourth to bring a jewel from the neck of the sea dragon, and the fifth prince offered to bring her the shell which the swallows keep hidden in their nests.
The princes hurried away, each anxious to be the first to return, and so marry the beautiful Bamboo Princess.