While I love the Inline Entity Forms module, it lacks the bulk editing features that Views Entity Form Field brings to Views. My first thought was to use the great Paragraphs module, but I finally decided to vote for the Inline Entity Form module to add and edit the referenced products or services to proposals and invoices. I really fancy the way Drupal Commerce uses Inline Entity Forms for editing product variations in the backend of a product entity. Proposals and invoices are simple entities that reference a collection of products or services. The app creates invoices and proposals amongst other things. I recently worked on an app that is used to manage an event location with loads of annual events. They allow users to edit the fields' values right in the View's results: Instead of adding the field outputting the field's value, the Form field is placed on the view. And the module is surprisingly heasy to handle. The module basically allows users to edit entities right at the results page of a View, instead of having to open each result separatedly to edit it. The primary use case is the parent -> children one (product display -> products, order -> line items, etc.), where the child entities are never managed outside the parent form." "Provides a widget for inline management (creation, modification, removal) of referenced entities. When they see a view displaying multiple entities, they want to be able to edit them all at once, instead of clicking an edit button on each row.Įven though it's still in Beta, I usually end up using Views Entity Form Field(or Editable Views for Drupal 7) to create an "Excel like" workflow. It's project page says about the module: Sometimes when we're creating new tools for customers that were heavily using Excel spreadsheets, they find it hard to get used to the "standard" Drupal workflow.
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Whitman Publishing approached ERB to write a John Carter story for their “Better Little Books,” a children’s series of books with alternating pages of illustration and text. “John Carter and the Giant of Mars” is an entirely different matter. After failing to sell “Skeleton Men” to Blue Book, Burroughs set it up at Amazing Stories for the February 1943 issue. entrance into World War II and Burroughs’s work as a correspondent, he never wrote the other three parts. He wrote the first installment in October–November of 1941. After success selling the four novellas that made up Llana of Gathol, Burroughs started another quartet. The tale behind “The Skeleton Men of Jupiter” is simple enough. Two novellas from the Mars series remained orphaned, having only appeared in magazines: “The Skeleton Men of Jupiter” and “John Carter and the Giant of Mars.” It wasn’t until 1964 that Canaveral Press published them together under the deceivingly archetypal title John Carter of Mars. Previous Installments: A Princess of Mars (1912), The Gods of Mars (1913), The Warlord of Mars (1913–14), Thuvia, Maid of Mars (1916), The Chessmen of Mars (1922), The Master Mind of Mars (1927), A Fighting Man of Mars (1930), Swords of Mars (1934–35), Synthetic Men of Mars (1938), Llana of Gathol (1941) The BackstoryĮdgar Rice Burroughs died in 1950, two years after the publication of Llana of Gathol. Today’s Installment: John Carter of Mars (1964) The series spans 1912 to 1964 with nine novels, one volume of linked novellas, and two unrelated novellas. A dry and slowly dying world, Barsoom contains four different human civilizations, one non-human one, a scattering of science among swashbuckling, and a plethora of religions, mystery cities, and strange beasts. Our Saga: The adventures of Earthman John Carter, his progeny, and sundry other natives and visitors, on the planet Mars, known to its inhabitants as Barsoom. One doesn’t take place on Mars, and the other was not written by Edgar Rice Burroughs. I’ve called this review series “Edgar Rice Burroughs’s Mars,” but that title is a smidgeon deceiving when discussing the two stories here. The final book in Edgar Rice Burroughs’s career-spanning Barsoom saga is a slender volume containing two unrelated novellas. Greenberg, and Charles G.So it ends here, not with a climatic epic, but with a bit of house cleaning almost fifteen years after the author’s death. Carl Rosenberg on A Fine Addition to any SF Library: Isaac Asimov’s Wonderful Worlds of Science Fiction, edited by Isaac Asimov, Martin H.Bob Byrne on Ellsworth’s Cinema of Swords: The Barbarian Boom, Part 7.Fletcher Vredenburgh on 10 Things I Think I Think: March, 2023.
If your errobar comes out a little “funky”, modify this value. The 0.9 value is the default for the errorbars and refers to the distance between the middle errorbar and the left and/or right errobars when dodged. The position=position_dodge(0.9) is slightly more annoying, but tends to work alot more. The standard position="dodge" does work for the errorbars, but I have had very mixed results. You will notice these two arguments have different values and syntax. r/(1 + r)2') In the fourth line the underscore is the TEX command for. To alter the position of our errorbars we include the position=position_dodge(0.9) argument to match our original position="dodge" in our bar line. The derivative of the right side of Equation 1.7 respective to r is (1 r)/(1 +. Geom_errorbar(aes(ymin = mean-se, ymax = mean+se), width = 0.5, position=position_dodge(0.9)) This tutorial explains how to create side-by-side boxplots in both base R and ggplot2 using the following data frame: create data frame df <- ame(teamrep (c ('A', 'B', 'C'), each8), pointsc (5, 5, 6, 6, 8, 9, 13. Geom_bar(stat="identity", position="dodge")+ Side-by-side boxplots can be used to quickly visualize the similarities and differences between different distributions. ggplot(weeds.summarise2, aes(x=soil, y=mean, fill=species)) + This gets more finicky the more complex your graph is, so I hope the below solution fixes all of your future problems :)įor this example, I am using our “interaction” bargraph to demonstrate. We can alter the position of errorbars through the use of the “position” argument.Īltering the position of errorbars in bar graphs has given me alot of headaches over the years. When plotting multiple errorbars, much like with standard bars, the default structure is to “stack” the bars in a single column. Geom_bar(stat="identity", position="dodge") To fix this, include the position="dodge" argument in your geom_bar(), like so. However, you can see the bar graph has stacked the species ontop of one another. ggplot also plots our legend automatically, which is handy. Creating side-by-side boxplot in base R can be done with the help of creating space for graphs with the help of par(mfrow). We plot multiple columns by specifying one column in our x axis, and filling/colouring by another. Summarise(mean = mean(flowers), se=sd(flowers)/sqrt(n())) weeds.summarise2 % group_by(species, soil) %>% To plot multiple columns, for example a soil by species interaction, is quite simple.įirstly, we will run our summarise command, adding the soil column into our group_by() command to generate the means and standard error for the soil, species combinations. The plot on the right side of Figure 1-1 shows a few ways. A bar plot or bar graph is a chart of rectangular bars. The graph we just made is a simple one, but it is possible to make very elaborate graphs with R. In the last examples, we plotted a single column graph with errorbars and significant notation. A simple bar plot Clustered (side by side or stacked) bar plot Compare a Pie chart to a Bar graph. Built with the "Learn" Theme using Hugo and Blogdown The latest version does not seem to have that capability built in. I had to look on-line for how to use functions like creating the Blu-Ray Menu.Īdobe Elements Premiere 15 is a lot like the older versions, but I must say, it is a lot less intuitive to use. This function is something that should have been like a wizard, something where you click a "Next" button after adding/editing the Video, and the software should take you to that function. But it does not work like that - I had to actually hunt for the function to create the Menu. And then I had to hunt for the function that burns the Blu-Ray. The conversion of the Video takes 5-6 hours on my Intel i7 Laptop, and the burning takes less than an hour. But the quality of the Blu-Ray is amazing.Here are the latest releases from Topaz, DxO, Skylum, ON1, Capture One, and Adobe: I generally leave it overnight to burn one Blu-Ray. → Topaz Labs released Photo AI version 1.0.2 ( Photo AI combines DeNoise AI, Sharpen AI, and Gigapixel AI into one package). Photo AI is currently $40 off until October 7. You can get an additional 15% off with code GETPHOTOAI. → Today DxO released PhotoLab 6 and ViewPoint 4 (more info available here). → Skylum announced their fifth paid extension for Luminar Neo that will be released in November: Focus Stacking (the other extensions so far are Upscale AI, AI Background Removal, HDR Merge, and Noiseless AI Extensions). → The all-new ON1 Photo RAW 2023 is coming on October 10th ( more info here). The 2023 version will be the most significant update in ON1 Photo RAW’s history with many new AI-powered features ( see sneak peeks here). → Check out also the ON1 Creative library. → is currently offering some savings on their Capture One Hidden Feature eBook and Pro Color Grading Styles for Capture One (you can get an additional 10% off with code RUMORS). → Capture One introduces tethering for iPad. → Capture One Pro 23 is coming soon (expected before the end of 2023). Pitchers with high Ground Ball % ratings tend to get more ground outs and double plays. Ground Ball % is a measure of how many balls hit off this pitcher are ground balls as compared to fly balls. A combination of a pitcher with a good Hold Runners rating and a catcher with a good arm can significantly reduce the chances of opponents attempting stolen bases. It is harder for runners on base to steal against pitchers who have high Hold Runners ratings. Hold Runners is a measure of a pitcher's ability to hold runners on base. The bare minimum endurance (now called Stamina) needed in order to start is 25 on a 1-100 scale, but most starters should have at least a 50. Pitchers with high Stamina ratings tend to be used as starting pitchers, while pitchers with low Stamina ratings tend to be used as relief pitchers. Tired pitchers are more likely to walk hitters or give up hits. Stamina is a measure of how many pitches a pitcher can throw before tiring. Velocity is factored into the overall Stuff rating, as well as the ratings of individual pitches. For example, a fastball relies heavily upon velocity, while a knuckleball does not. Velocity is important for certain pitches that are heavily dependent upon velocity. Velocity can change over time, with younger players typically gaining velocity as they fill out, and losing velocity due to age or injury. Velocity is not measured according to the standard rating system, but rather is measured in miles per hour. Velocity is a measure of how fast a pitcher throws. Pitchers with good Control ratings tend to walk fewer batters. Movement is calculated based on factors including ground ball %.Ĭontrol is a measure of a pitcher's accuracy. As a result, pitchers with high Movement ratings tend to give up fewer home runs. It is harder for batters to make good contact with pitches that have good movement. Movement is a measure of the movement on a pitcher's pitches. You can see the change in a pitcher's Stuff rating if you change the player's position from SP to MR and back. You get to decide how he provides the most useful fit for your team. This means that a pitcher with a strong fastball, a strong slider, and a weak changeup might make for an average starting pitcher but a great reliever. This bonus is heavily tied into the strength of a reliever's top two pitches, since relievers have much less incentive to mix in their weaker offerings. OOTP displays that bonus in the form of increased Stuff ratings. Relief pitchers receive a small bonus to stuff, to reflect the fact that batters get fewer looks at their pitches and have less of a chance to adjust to them. Stuff is calculated based on a combination of his individual pitch ratings and the velocity with which he throws. Think of it as essentially how a pitcher "puts it all together." Stuff directly affects the number of strikeouts a pitcher throws. Stuff is a measure of the quality of a pitcher's pitch repertoire. Pitching ratings are used by the game engine to determine the outcome of a pitch. There are also four additional ratings that do not have corresponding "potential" ratings: Stamina, Ground Ball %, Velocity, and Hold Runners. They are also available on the Scouting Reports page. Pitching ratings can be seen on the Player Profile, the Ratings page, or in any list of players using the Pitching Ratings view. (See Current vs Potential Ratings for more information on the distinction between the two.) Additionally, pitchers are rated for each individual pitch they can throw. Each of these has a matching potential rating. All players have a set of three basic batting ratings: Stuff, Movement, and Control. "When Japanese say 'natsukashii’, they want to confirm that togetherness, rather than simply being nostalgic to a particular event or person. "But there may be a slight difference," she noted. Kawakami compares the sentiment to the English phrase "the good old days”. An 18-year-old may feel natsukashii for kindergarten days.” “One could say, ‘Oh, that’s mainly for old people.’ But it’s amazing how quickly a young person becomes ‘old’ in terms of natsukashii. “It always surprises me, the degree to which natsukashii comes up,” Yano told me. Tens of thousands of people rushed to find out what the app was (VHS Cam), then share their own videos using it. These cramped, cash-only establishments surrounded by glowing lanterns and cigarette smoke are a portal to another era, as they were originally part of black markets that cropped up in the city following World War Two.Īnd last summer, Japanese Twitter went wild after someone shared a video they made using an app that replicated the VHS camcorder recording quality of the 1980s. On any given night of the week, Tokyo businessmen can be found blowing off steam in yokocho, traditional alleyways containing bars and restaurants. But in Japan, paying tribute to the past goes far beyond sharing the occasional #ThrowbackThursday post on social media or binge-watching an ‘80s TV show reboot. In today’s digital age, people seem to be more obsessed than ever with nostalgia. “We miss the time – but it’s better that way,” she said. She describes natsukashii as a bittersweet form of reminiscing. Sumie Kawakami, a writer who teaches liberal arts at the International College of Liberal Arts (iCLA) at Japan’s Yamanashi Gakuin University, echoes that sentiment. It is an aesthetic invested with emotion and beauty at the same time.” "This is the aesthetic that sees beauty in imperfection, in something not being quite complete, in longing, in yearning, in evanescence, in impermanence, wistfulness, in melancholy. “I think in Japan, nostalgia has to do with an aesthetic," she continued. A glass half empty is a glass that’s full and beautiful.” “It’s part of the emotional foundation of Japan. “A positive frame put around longing is the essence of natsukashii,” said Christine Yano, professor of anthropology at the University of Hawaii, whose research focuses on Japanese popular culture. The fact that you cannot return to those experiences makes them all the more poignant. In Japan, natsukashii is a reminder that you are fortunate to have had the experiences you’ve had in life. But natsukashii – which derives from the verb “ natsuku”, which means “to keep close and become fond of” – indicates joy and gratitude for the past rather than a desire to return to it. In some cultures, nostalgia is often full of sadness. For instance, when you hear a song you loved as a teenager, or when you come across an old train ticket stub in your pocket. It’s a word you exclaim as a smile creeps across your face. Natsukashii is a Japanese word used when something evokes a fond memory from your past. |