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Grimm's Fairy Tales by Jacob and Wilhelm Grimm, is part of the HackerNoon Books Series. You can jump to any chapter in this book here . THE SINGING, SOARING LARK THE SINGING, SOARING LARK There was once on a time, a man who was about to set out on a long journey. At parting he asked his three daughters what he should bring back for them. Whereupon the eldest wished for pearls, the second wished for diamonds, but the third said, “Dear Father, I should like a Singing, Soaring Lark.” The father said, “Yes, if I can get it, you shall have it,” kissed all three, and set out. Now, when the time had come for him to return home, he had brought pearls and diamonds for the two eldest. But he had sought everywhere in vain for a Singing, Soaring Lark for the youngest, and he was very unhappy about it, for she was his favorite child. Then his road lay through a forest, and in the midst of it was a splendid castle. Near the castle stood a tree, and quite on the top of the tree, he saw a Singing, Soaring Lark. “Aha, you come just at the right moment!” he said, quite delighted, and called to his servant to climb up and catch the little creature. But as he approached the tree, a Lion leapt from beneath it, shook himself, and roared till the leaves on the tree trembled. “He who tries to steal my Singing, Soaring Lark,” he cried, “will I devour.” Then the man said, “I did not know that the bird belonged to you. I will make amends for the wrong I have done, and ransom myself with a large sum of money, only spare my life.” The Lion said, “Nothing can save you, unless you will promise to give me for mine own what first meets you on your return home. But if you will do that, I will grant you your life, and you shall have the bird for your daughter, into the bargain.” The man hesitated and said, “That might be my youngest daughter, she loves me best, and always runs to meet me on my return home.” The servant, however, was terrified and said, “Why should your daughter be the very one to meet you, it might as easily be a cat, or dog?” Then the man allowed himself to be persuaded, took the Singing, Soaring Lark, and promised to give the Lion whatsoever should first meet him on his return home. When he reached home and entered his house, the first who met him was no other than his youngest and dearest daughter, who came running up, kissed and embraced him. When she saw that he had brought with him a Singing, Soaring Lark, she was beside herself with joy. The father, however, could not rejoice, but began to weep, and said, “My dearest Child, I have bought the little bird at a great cost! In return for it, I have been obliged to promise you to a savage Lion. When he has you he will tear you in pieces and devour you,” and he told her all, just as it had happened, and begged her not to go thither, come what might. But she consoled him and said, “Dearest Father, indeed your promise must be fulfilled. I will go thither and soften the Lion, so that I may return to you safely.” Next morning, she had the road pointed out to her, took leave, and went fearlessly out into the forest. The Lion, however, was an enchanted Prince and was by day a Lion, and all his people were Lions with him. But in the night, they resumed their natural human shapes. On her arrival, she was kindly received and led into the castle. When night came, the Lion turned into a handsome man, and their wedding was celebrated with great magnificence. They lived happily together, remained awake at night, and slept in the daytime. One day, he came and said, “To-morrow there is a feast in your father’s house, because your eldest sister is to be married, and if you are inclined to go there, my Lions shall conduct you.” She said, “Yes, I should very much like to see my father again,” and went thither, accompanied by the Lions. There was great joy when she arrived, for they had all believed that she had been torn in pieces by the Lion, and had long ceased to live. But she told them what a handsome husband she had, and how well off she was. She remained with them while the wedding-feast lasted, and then went back again to the forest. When the second daughter was about to be married, and she was again invited to the wedding, she said to the Lion, “This time, I will not go alone. You must come with me.” The Lion, however, said that it was too dangerous for him, for if a ray from a burning candle should fall on him, he would be changed into a Dove, and for seven years long would have to fly about with the Doves. She said, “Ah, but do come with me, I will take great care of you and guard you from all light.” So they went away together, and took with them their little child as well. She had a chamber built, so strong and thick that no ray could pierce through it. In this he was to shut himself up when the candles were lit for the wedding-feast. But the door was made of green wood which warped and left a little crack which no one noticed. The wedding was celebrated with magnificence; but when the procession with all its candles and torches came back from church and passed by this apartment, a ray about the breadth of a hair fell on the King’s Son. When this ray touched him, he was transformed in an instant. And when she came in, and looked for him, she did not see him, but a white Dove was sitting there. The Dove said to her, “For seven years must I fly about the world, but at every seventh step that you take I will let fall a drop of red blood and a white feather. These will show you the way. If you follow the trace you can release me.” Thereupon the Dove flew out at the door, and she followed him. At every seventh step a red drop of blood and a little white feather fell down, and showed her the way. So she went continually farther and farther, in the wide world, never looking about her nor resting, and the seven years were almost past. Then she rejoiced and thought that they would soon be delivered, and yet they were so far from it! Once when they were thus moving onwards, no little feather and no drop of red blood fell, and when she raised her eyes the Dove had disappeared. And as she thought to herself, “In this no man can help me,” she climbed up to the Sun, and said to him, “You shine into every crevice, and over every peak, have you not seen a white Dove flying?” “No,” said the Sun, “I have seen none, but I present you with a casket. Open it when you are in sorest need.” Then she thanked the Sun, and went on until evening came and the Moon appeared. She then asked her, “You shine the whole night through, and on every field and forest, have you not seen a white Dove flying?” “No,” said the Moon, “I have seen no Dove, but here I give you an egg. Break it when you are in great need.” She thanked the Moon, and went on until the Night Wind came up and blew on her, then she said to it, “You blow over every tree and under every leaf, have you not seen a white Dove flying?” “No,” said the Night Wind, “I have seen none, but I will ask the three other Winds; perhaps they have seen it.” The East Wind and the West Wind came, and had seen nothing, but the South Wind said, “I have seen the white Dove, it has flown to the Red Sea, there it has become a Lion again, for the seven years are over. The Lion is there fighting with a Dragon. The Dragon, however, is an enchanted Princess.” The Night Wind then said to her, “I will advise you. Go to the Red Sea, on the right bank are some tall reeds, count them, break off the eleventh, and strike the Dragon with it. Then the Lion will be able to subdue it, and both then will regain their human form. After that, look round and you will see the Griffin which is by the Red Sea. Swing yourself with your beloved, on to his back, and the bird will carry you over the sea to your own home. “Here is a nut for you, when you are above the centre of the sea, let the nut fall. It will immediately shoot up, and a tall nut-tree will grow out of the water on which the Griffin may rest; for if he cannot rest, he will not be strong enough to carry you across. If you forget to throw down the nut, he will let you fall into the sea.” Then she went thither, and found everything as the Night Wind had said. She counted the reeds by the sea, and cut off the eleventh, struck the Dragon with it, whereupon the Lion overcame it. Immediately both of them regained their human shapes. But when the Princess, who had been the Dragon, was delivered from enchantment, she took the youth by the arm, seated herself on the Griffin, and carried him off with her. There stood the poor maiden, who had wandered so far and was again forsaken! She sat down and cried, but at last she took courage and said, “Still I will go as far as the Wind blows and as long as the cock crows, until I find him.” She went forth by long, long roads, until at last she came to the castle, where both of them were living together. There she heard that a feast was to be held, in which they would celebrate their wedding, but she said, “God still helps me,” and opened the casket that the Sun had given her. A dress lay therein as brilliant as the sun itself. So she took it out and put it on, and went up into the castle, and every one, even the Bride, looked at her with astonishment. The dress pleased the Bride so well that she thought it might do for her wedding-dress, and asked if it was for sale? “Not for money or land,” answered she, “but for flesh and blood.” The Bride asked her what she meant by that, then she said, “Let me sleep a night in the chamber where the Bridegroom sleeps.” The Bride would not, yet wanted very much to have the dress. At last she consented, but the page was to give the Prince a sleeping-draught. When it was night, and the youth was already asleep, she was led into the chamber. She seated herself on the bed and said, “I have followed you for seven years. I have been to the Sun and the Moon, and the Four Winds, and have inquired for you and have helped you against the Dragon. Will you, then, forget me?” But the Prince slept so soundly that it only seemed to him as if the wind were whistling outside in the fir-trees. When therefore day broke, she was led out again, and had to give up the golden dress. And as that had been of no avail, she was sad, went out into a meadow, sat down there, and wept. While she was sitting there, she thought of the egg which the Moon had given her. She opened it, and there came out a clucking hen with twelve chickens all of gold. They ran about chirping, and crept again under the old hen’s wings. Nothing more beautiful was ever seen in the world! She arose, and drove them through the meadow. The Bride looked out of the window, and the little chickens pleased her so that she came down and asked if they were for sale. “Not for money or land, but for flesh and blood. Let me sleep again in the chamber where the Bridegroom sleeps.” The Bride said, “Yes,” intending to cheat her as on the former evening. But when the Prince went to bed he asked the page what the murmuring and rustling in the night had been. On this the page told all; that he had been forced to give him a sleeping-draught, because a poor girl had slept secretly in the chamber, and that he was to give him another that night. The Prince said, “Pour out the draught by the bedside.” At night, she was again led in, and when she began to relate how ill all had fared with her, he immediately recognized his beloved wife by her voice, sprang up and cried, “Now I really am released! I have been as it were in a dream, for the strange Princess has bewitched me so that I have been compelled to forget you! But God has delivered me from the spell at the right time.” Then they both left the castle secretly in the night, for they feared the father of the Princess, who was a sorcerer. They seated themselves on the Griffin which bore them across the Red Sea. When they were in the midst of it, she let fall the nut. Immediately a tall nut-tree grew up, whereon the bird rested, and then carried them home, where they found their child, who had grown tall and beautiful. And they lived thenceforth happily until their death. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Jacob Grimm and Wilhelm Grimm (2016). Grimm's Fairy Tales. Urbana, Illinois: Project Gutenberg. Retrieved October 2022, https://www.gutenberg.org/cache/epub/52521/pg52521-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html.

THE SINGING, SOARING LARK

102 Stories To Learn About Scrum

This paper is available on arxiv under CC BY-SA 4.0 DEED license. Authors: (1) Mathias-Felipe de-Lima-Santos, Faculty of Humanities, University of Amsterdam, Institute of Science and Technology, Federal University of São Paulo; (2) Wilson Ceron, Institute of Science and Technology, Federal University of São Paulo. Table of Links Abstract & Introduction Data and Methods Results Discussion and Conclusions Funding and References Funding This project was partially funded by the University of Amsterdam’s RPA Human(e) AI and by the European Union’s Horizon 2020 research and innovation programs No 951911 (AI4Media). References (1) Sunstein, C. R. #Republic: Divided Democracy in the Age of Social Media; Princeton University Press: Princeton, New Jersey, 2017. (2) Garimella, K.; De Francisci Morales, G.; Gionis, A.; Mathioudakis, M. Political Discourse on Social Media. 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Disinformation Echo-Chambers on Facebook: Funding and References

This paper is under CC 4.0 license. available on arxiv Authors: (1) Marcin W ˛atorek, Faculty of Computer Science and Telecommunications, Cracow University of Technology, ul. Warszawska 24, 31-155 Kraków, Poland and marcin.watorek@pk.edu.pl (M.W.); (2) Jarosław Kwapie ´n, Complex Systems Theory Department, Institute of Nuclear Physics, Polish Academy of Sciences, Radzikowskiego 152, 31-342 Kraków, Poland and jaroslaw.kwapien@ifj.edu.pl; (3)  Stanisław Drozd˙ z, Faculty of Computer Science and Telecommunications, Cracow University of Technology, ul. Warszawska 24, 31-155 Kraków, Poland, Complex Systems Theory Department, Institute of Nuclear Physics, Polish Academy of Sciences, Radzikowskiego 152, 31-342 Kraków, Poland and stanislaw.drozdz@ifj.edu.pl (S.D.). Table of Links Abstract and Introduction Data and Methodology Results and Discussion Conclusion and References 4. Conclusions Based on the multiscale cross-correlation analysis performed for the data covering almost the last three years, it can be concluded that the cryptocurrency market dynamics is substantially tied to the traditional financial markets. Consistently, the most liquid cryptocurrencies, BTC and ETH, cannot serve as a hedge or safe haven for the stock market investments, not only during the turbulent periods like the Covid-19 panic, where this effect is particularly strong, but also during the recent bear market period on tech stocks, which has been accompanied by the parallel bear market on cryptocurrencies. Many observations show that the Covid-19 pandemic may have changed the paradigm that the cryptocurrency market is a largely autonomous market. The recent market developments and the strong US dollar have additionally increased the strength of the cross-correlations between BTC and ETH on the one side and the US tech stocks on the other side. These observations support some earlier findings on the same subject (e.g., [22,70]). In contrast, as the cryptocurrency market was weakly correlated with other markets during 2021, our results cannot support directly a recent hypothesis that the quantitative easing could actually be responsible for these correlations [22]. The existence of links between the global economy and the cryptocurrency market are further strengthened by the reaction of the price changes of BTC and ETH to economic data, such as CPI inflation, in a similar way to traditional financial instruments. These results are able to remove or, at least, to suppress the uncertainty that recent literature on this topic has brought to the cryptocurrency investors. Now it is more clear that the cryptocurrencies can no longer serve as a convenient hedging target for the investors whose purpose is to diversify the risk. Our study brings a strong indication that the cryptocurrency market has finally become a connected part of the global financial markets after 12 years of the maturation process. Whether such a direction of this market evolution remains in agreement with the early vision of the cryptocurrency creators can be disputed, however. We also face a related question: does the fact that we have got “just another part of the global financial market” deserve devoting so huge amounts of energy to it? Sooner or later this question must be addressed by the policy makers. Nevertheless, what becomes evident now is that it allows the market participants to broaden the spectrum of their investment possibilities. Among the limitations that might have influenced our study and, subsequently, our conclusions, we have to mention that only two principal cryptocurrencies were studied. Although they are the most influential, the most frequently traded, and widely discussed cryptocurrencies, they by no means define the entire market. It is possible that an analysis that included some less important cryptocurrencies would bring different outcomes. This is especially likely for the marginal cryptocurrencies without any thinkable “fundamental” value, whose dynamics is driven predominantly by extreme speculation. However, as the cryptocurrency market is looked at by the most investors through the lens of BTC and ETH (as their capitalization indicates), this particular limitation does not seem discouraging to us. Currently, these two assets shape the whole cryptocurrency market and we expect them to continue doing it in the nearest future. Another limitation of our analysis is the particular selection of the traditional financial instruments. Indeed, they constitute only a small fraction of the available ones. We are convinced, though, that they are among the most observed and the most influential ones in the context of the global economy, which fully justifies our choice. A more general observation that the cryptocurrency market has spontaneously coupled to the technological sector of the stock markets by reacting to some trigger provided by the external data inflow resembles analogous effects of the spontaneous emergence of order among the so-far independent degrees of freedom in the various complex systems. However, as complexity allows for flexible reacting of a system to both the external perturbations and internal processes, such effects of ordering in the financial markets have to be eventually counterbalanced by the opposite processes of disordering. Therefore, the market participants must be aware that the inter-market couplings may not last forever and they can significantly be weakened or even removed completely at some point in future. This is why the in-depth studies of the cross-market dependencies have to remain among the principal directions of the cryptocurrency research. Our future work will also deal with energy consumption of the cryptocurrency market. Conceptualisation, S.D., J.K. and M.W.; methodology, S.D., J.K. and M.W.; software, M.W.; validation, S.D., J.K. and M.W.; formal analysis, M.W.; investigation, S.D., J.K. and M.W.; resources, M.W.; data curation, M.W.; writing—original draft preparation, M.W.; writing review and editing, S.D., J.K. and M.W.; visualisation, M.W.; supervision, S.D. All authors have read and agreed to the published version of the manuscript. Author Contributions: This research received no external funding. Funding: Data available freely from Dukascopy [58]. Data Availability Statement: The authors declare no conflict of interest. Conflicts of Interest: References 1. Kwapie ´n, J.; Drozd˙ z, S. Physical approach to complex systems. ˙ Phys. Rep. 2012, 515, 115–226. 2. 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Integration of Cryptocurrency into the Global Financial Market: Conclusion and References

Introduction Several months ago, I embarked on a journey to accomplish a captivating project: investigating how Terraform templates can be parsed and specifically focusing on parsing variable types. Terraform My goal was to build a solution that could parse any given Terraform template, including the variable types, and generate an output for a frontend app to dynamically generate forms. Challenges Several challenges arose as soon as I started the project. Firstly, I had to find a solution to generate frontend forms dynamically. The solution I settled on was using , a frontend library that generates forms from . jsonform JSON schema Now that I knew the frontend required a JSON schema to function properly, the second challenge was to create a solution to convert Terraform templates to JSON schema. In my case, I only needed to parse the file. variables.tf While there are numerous tools available that parse Terraform templates, all of them leave the variable types untouched. To illustrate the pain point I faced, here's the output of a variable block parsed using : python-hcl2 Python 3.10.12 (main, Nov 20 2023, 15:14:05) [GCC 11.4.0]
Type 'copyright', 'credits' or 'license' for more information
IPython 8.19.0 -- An enhanced Interactive Python. Type '?' for help.

In [1]: import hcl2

In [2]: input = """
   ...: variable "project_metadata" {
   ...:     description = "Project metadata"
   ...:     type = object({
   ...:         name = string,
   ...:         id = string,
   ...:         tags = list(string)
   ...:     })
   ...: 
   ...:     validation {
   ...:         condition = substr(var.project_metadata.name, 0, 2) == "p-"
   ...:         error_message = "Project name must be prefixed with 'p-'"
   ...:     }
   ...: }"""

In [3]: output = hcl2.loads(input)

In [4]: output
Out[4]: 
{'variable': [{'project_metadata': {'description': 'Project metadata',
    'type': "${object({'name': '${string}', 'id': '${string}', 'tags': '${list(string)}'})}",
    'validation': [{'condition': '${substr(var.project_metadata.name, 0, 2) == "p-"}',
      'error_message': "Project name must be prefixed with 'p-'"}]}}]}

In [5]: output['variable'][0]["project_metadata"]["type"]
Out[5]: "${object({'name': '${string}', 'id': '${string}', 'tags': '${list(string)}'})}"    # Remains a string As you can see in the last output, the variable type remains a string. Consequently, I had to find a way to further process the output and convert it to a JSON schema. Parsing Variable Type Despite the tiny setback, I was excited that I encountered the challenge. I recalled subjects I had studied back in school that discussed the formal specifications of programming languages, coupled with a book I read not long ago, which also delved into the same subject. The first idea that came up was to create a custom parser. To build a custom parser, I had to first define the grammar of the language. A quick search brought me to the , a library that allows us to create custom parsers in Python and other languages. Their is well-written and easy to follow. lark-parser getting started guide The fun part was defining an . The grammar in Lark is based on EBNF but with several enhancements that make defining grammar easier. EBNF grammar Fortunately, the itself is relatively simple. After several iterations, I was able to come up with the following grammar that parses all the complex variable types I had. Terraform variable type from lark import Lark

type_parser = Lark(r"""
    ?type: "any" -> any
        | "string" -> string
        | "number" -> number
        | "bool" -> bool
        | "object({" [keyval (keyval)*] "})" -> object
        | "list(" [type] ")"  -> list
        | "set(" [type] ")" -> set
        | "map(" [type] ")" -> map
        | "tuple(" [type (type)* ] ")" -> tuple

    keyval: CNAME keyval_separator type [comment]
    ?keyval_separator: "=" | ":"
    ?comment: SH_COMMENT                  

    %import common.SH_COMMENT              
    %import common.CNAME              
    %import common.WS              
    %ignore WS
    """, start='type') Converting Parsed Type To JSON Schema Defining a grammar for parsing variable type was just the first part. With the defined grammar, variable types are parsed into a parsed tree. A further step was necessary to convert the parsed tree to a JSON schema. With Lark, we can define transformers to convert a parsed tree back to a text form. The first experiment I did was to convert the parsed tree back to its original form, and it worked well. After that, I had to convert it to a JSON schema. Before I could do that, I had to first map Terraform variable types to . Primitive types such as string, boolean, and number are straightforward, as their equivalent counterpart exists in JSON schema. However, some complex types, including maps and objects, require more thought. JSON schema types Eventually, I created the following mapping, where on the left is the Terraform variable type, and on the right is its corresponding JSON schema type: string -> string number -> number bool -> boolean list/tuple/set -> array (with items) map -> object (with additionalProperties) object -> object (with properties) any -> string Results Let's revisit the Terraform variable block that I was trying to parse: variable "project_metadata" {
    description = "Project metadata"
    type = object({
        name = string,
        id = string,
        tags = list(string)
    })

    validation {
        condition = substr(var.project_metadata.name, 0, 2) == "p-"
        error_message = "Project name must be prefixed with 'p-'"
    }
} With the custom parser and transformer I developed, I was able to reliably generate the JSON schema required by the frontend to dynamically create forms. {
  "title": "",
  "type": "object",
  "additionalProperties": false,
  "properties": {
    "project_metadata": {
      "description": "Project metadata",
      "validation": [
        {
          "condition": "${substr(var.project_metadata.name, 0, 2) == \"p-\"}",
          "error_message": "Project name must be prefixed with 'p-'"
        }
      ],
      "type": "object",
      "properties": {
        "name": {
          "type": "string"
        },
        "id": {
          "type": "string"
        },
        "tags": {
          "type": "array",
          "items": {
            "type": "string"
          }
        }
      }
    }
  }
} The parser was eventually packaged as a Python library and distributed internally. Backend APIs were also built to interact with the front end. In conclusion, the development of this custom parser and transformer has proven to be a rewarding journey personally. If you have any feedback, questions, or thoughts, please feel free to reach out. Thank you for making it this far! =) Also published . here

Parsing Terraform for Forms: Transforming Variable Types into JSON Schema for Frontend Apps

This paper is available on arxiv under CC 4.0 license. . Authors: Gemini Team, Google Table of Links Abstract and Introduction Model Architecture Training Infrastructure Training Dataset Evaluation Responsible Deployment Discussion and Conclusion, References Contributions and Acknowledgments Appendix 8. Contributions and Acknowledgments Leads Rohan Anil, Co-Lead, Text Sebastian Borgeaud, Co-Lead, Text Yonghui Wu, Co-Lead, Text Jean-Baptiste Alayrac, Co-Lead, MM Vision Jiahui Yu, Co-Lead, MM Vision Radu Soricut*, Co-Lead, MM Vision* Johan Schalkwyk, Lead, MM Audio Andrew M. Dai, Co-Lead, Data Anja Hauth*, Co-Lead, Data* Katie Millican, Co-Lead, Data David Silver, Co-Lead, Fine-Tuning Slav Petrov, Co-Lead, Fine-Tuning Melvin Johnson, Lead, Instruction Tuning Ioannis Antonoglou*, Co-Lead, RL Techniques* Julian Schrittwieser, Co-Lead, RL Techniques Amelia Glaese, Lead, Human Data Jilin Chen, Lead, Safety Emily Pitler, Co-Lead, Tool Use Timothy Lillicrap, Co-Lead, Tool Use Angeliki Lazaridou, Co-Lead, Eval Orhan Firat, Co-Lead, Eval James Molloy, Co-Lead, Infra Michael Isard, Co-Lead, Infra Paul R. Barham, Co-Lead, Infra Tom Hennigan, Co-Lead, Infra Benjamin Lee, Co-Lead, Codebase & Parallelism Fabio Viola, Co-Lead, Codebase & Parallelism Malcolm Reynolds, Co-Lead, Codebase & Parallelism Yuanzhong Xu, Co-Lead, Codebase & Parallelism Ryan Doherty, Lead, Ecosystem Eli Collins, Lead, Product Clemens Meyer, Co-Lead, Operations Eliza Rutherford, Co-Lead, Operations Erica Moreira, Co-Lead, Operations Kareem Ayoub, Co-Lead, Operations Megha Goel, Co-Lead, Operations Core Contributors George Tucker Enrique Piqueras Maxim Krikun Iain Barr Nikolay Savinov Ivo Danihelka Becca Roelofs Core Contributors Anaïs White Anders Andreassen Tamara von Glehn Lakshman Yagati Mehran Kazemi Lucas Gonzalez Misha Khalman Jakub Sygnowski Alexandre Frechette Charlotte Smith Laura Culp Lev Proleev Yi Luan Xi Chen James Lottes Nathan Schucher Federico Lebron Alban Rrustemi Natalie Clay Phil Crone Tomas Kocisky Jeffrey Zhao Bartek Perz Dian Yu Heidi Howard Adam Bloniarz Jack W. Rae Han Lu Laurent Sifre Marcello Maggioni Fred Alcober Dan Garrette Megan Barnes Shantanu Thakoor Jacob Austin Gabriel Barth-Maron William Wong Rishabh Joshi Rahma Chaabouni Deeni Fatiha Arun Ahuja Ruibo Liu Yunxuan Li Sarah Cogan Jeremy Chen Core Contributors Chao Jia Chenjie Gu Qiao Zhang Jordan Grimstad Ale Jakse Hartman Martin Chadwick Gaurav Singh Tomar Xavier Garcia Evan Senter Emanuel Taropa Thanumalayan Sankaranarayana Pillai Jacob Devlin Michael Laskin Diego de Las Casas Dasha Valter Connie Tao Lorenzo Blanco Adrià Puigdomènech Badia David Reitter Mianna Chen Jenny Brennan Clara Rivera Sergey Brin Shariq Iqbal Gabriela Surita Jane Labanowski Abhi Rao Stephanie Winkler Emilio Parisotto Yiming Gu Kate Olszewska Yujing Zhang Ravi Addanki Antoine Miech Annie Louis Laurent El Shafey Denis Teplyashin Geoff Brown Elliot Catt Nithya Attaluri Jan Balaguer Jackie Xiang Pidong Wang Zoe Ashwood Anton Briukhov Albert Webson Sanjay Ganapathy Smit Sanghavi Core Contributors Ajay Kannan Ming-Wei Chang Axel Stjerngren Josip Djolonga Yuting Sun Ankur Bapna Matthew Aitchison Pedram Pejman Henryk Michalewski Tianhe Yu Cindy Wang Juliette Love Junwhan Ahn Dawn Bloxwich Kehang Han Peter Humphreys Thibault Sellam James Bradbury Varun Godbole Sina Samangooei Bogdan Damoc Alex Kaskasoli Sébastien M. R. Arnold Vijay Vasudevan Shubham Agrawal Jason Riesa Dmitry Lepikhin Richard Tanburn Srivatsan Srinivasan Hyeontaek Lim Sarah Hodkinson Pranav Shyam Johan Ferret Steven Hand Ankush Garg Tom Le Paine Jian Li Yujia Li Minh Giang Alexander Neitz Zaheer Abbas Sarah York Machel Reid Elizabeth Cole Aakanksha Chowdhery Dipanjan Das Dominika Rogozińska Vitaly Nikolaev Core Contributors Pablo Sprechmann Zachary Nado Lukas Zilka Flavien Prost Luheng He Marianne Monteiro Gaurav Mishra Chris Welty Josh Newlan Dawei Jia Miltiadis Allamanis Clara Huiyi Hu Raoul de Liedekerke Justin Gilmer Carl Saroufim Shruti Rijhwani Shaobo Hou Disha Shrivastava Anirudh Baddepudi Alex Goldin Adnan Ozturel Albin Cassirer Yunhan Xu Daniel Sohn Devendra Sachan Reinald Kim Amplayo Craig Swanson Dessie Petrova Shashi Narayan Arthur Guez Siddhartha Brahma Jessica Landon Miteyan Patel Ruizhe Zhao Kevin Villela Luyu Wang Wenhao Jia Matthew Rahtz Mai Giménez Legg Yeung Hanzhao Lin James Keeling Petko Georgiev Diana Mincu Boxi Wu Salem Haykal Rachel Saputro Kiran Vodrahalli Core Contributors James Qin Zeynep Cankara Abhanshu Sharma Nick Fernando Will Hawkins Behnam Neyshabur Solomon Kim Adrian Hutter Priyanka Agrawal Alex Castro-Ros George van den Driessche Tao Wang Fan Yang Shuo-yiin Chang Paul Komarek Ross McIlroy Mario Lučić Guodong Zhang Wael Farhan Michael Sharman Paul Natsev Paul Michel Yong Cheng Yamini Bansal Siyuan Qiao Kris Cao Siamak Shakeri Christina Butterfield Justin Chung Paul Kishan Rubenstein Shivani Agrawal Arthur Mensch Kedar Soparkar Karel Lenc Timothy Chung Aedan Pope Loren Maggiore Jackie Kay Priya Jhakra Shibo Wang Joshua Maynez Mary Phuong Taylor Tobin Andrea Tacchetti Maja Trebacz Kevin Robinson Yash Katariya Sebastian Riedel Core Contributors Paige Bailey Kefan Xiao Nimesh Ghelani Lora Aroyo Ambrose Slone Neil Houlsby Xuehan Xiong Zhen Yang Elena Gribovskaya Jonas Adler Mateo Wirth Lisa Lee Music Li Thais Kagohara Jay Pavagadhi Sophie Bridgers Anna Bortsova Sanjay Ghemawat Zafarali Ahmed Tianqi Liu Richard Powell Vijay Bolina Mariko Iinuma Polina Zablotskaia James Besley Da-Woon Chung Timothy Dozat Ramona Comanescu Xiance Si Jeremy Greer Guolong Su Martin Polacek Raphaël Lopez Kaufman Simon Tokumine Hexiang Hu Elena Buchatskaya Yingjie Miao Mohamed Elhawaty Aditya Siddhant Nenad Tomasev Jinwei Xing Christina Greer Helen Miller Shereen Ashraf Aurko Roy Zizhao Zhang Ada Ma Angelos Filos Core Contributors Milos Besta Rory Blevins Ted Klimenko Chih-Kuan Yeh Soravit Changpinyo Jiaqi Mu Oscar Chang Mantas Pajarskas Carrie Muir Vered Cohen Charline Le Lan Krishna Haridasan Amit Marathe Steven Hansen Sholto Douglas Rajkumar Samuel Mingqiu Wang Sophia Austin Chang Lan Jiepu Jiang Justin Chiu Jaime Alonso Lorenzo Lars Lowe Sjösund Sébastien Cevey Zach Gleicher Thi Avrahami Anudhyan Boral Hansa Srinivasan Vittorio Selo Rhys May Konstantinos Aisopos Léonard Hussenot Livio Baldini Soares Kate Baumli Michael B. Chang Adrià Recasens Ben Caine Alexander Pritzel Filip Pavetic Fabio Pardo Anita Gergely Justin Frye Vinay Ramasesh Dan Horgan Kartikeya Badola Nora Kassner Subhrajit Roy Ethan Dyer Core Contributors Víctor Campos Alex Tomala Yunhao Tang Dalia El Badawy Elspeth White Basil Mustafa Oran Lang Abhishek Jindal Sharad Vikram Zhitao Gong Sergi Caelles Ross Hemsley Gregory Thornton Fangxiaoyu Feng Wojciech Stokowiec Ce Zheng Phoebe Thacker Çağlar Ünlü Zhishuai Zhang Mohammad Saleh James Svensson Max Bileschi Piyush Patil Ankesh Anand Roman Ring Katerina Tsihlas Arpi Vezer Marco Selvi Toby Shevlane Mikel Rodriguez Tom Kwiatkowski Samira Daruki Keran Rong Allan Dafoe Nicholas FitzGerald Keren Gu-Lemberg Mina Khan Lisa Anne Hendricks Marie Pellat Vladimir Feinberg James Cobon-Kerr Tara Sainath Maribeth Rauh Sayed Hadi Hashemi Richard Ives Yana Hasson YaGuang Li Eric Noland Core Contributors Yuan Cao Nathan Byrd Le Hou Qingze Wang Thibault Sottiaux Michela Paganini Jean-Baptiste Lespiau Alexandre Moufarek Samer Hassan Kaushik Shivakumar Joost van Amersfoort Amol Mandhane Pratik Joshi Anirudh Goyal Matthew Tung Andrew Brock Hannah Sheahan Vedant Misra Cheng Li Nemanja Rakićević Mostafa Dehghani Fangyu Liu Sid Mittal Junhyuk Oh Seb Noury Eren Sezener Fantine Huot Matthew Lamm Nicola De Cao Charlie Chen Contributors Gamaleldin Elsayed Ed Chi Mahdis Mahdieh Ian Tenney Nan Hua Ivan Petrychenko Patrick Kane Dylan Scandinaro Rishub Jain Jonathan Uesato Romina Datta Adam Sadovsky Oskar Bunyan Dominik Rabiej Shimu Wu John Zhang Contributors Gautam Vasudevan Edouard Leurent Mahmoud Alnahlawi Ionut Georgescu Nan Wei Ivy Zheng Betty Chan Pam G Rabinovitch Piotr Stanczyk Ye Zhang David Steiner Subhajit Naskar Michael Azzam Matthew Johnson Adam Paszke Chung-Cheng Chiu Jaume Sanchez Elias Afroz Mohiuddin Faizan Muhammad Jin Miao Andrew Lee Nino Vieillard Sahitya Potluri Jane Park Elnaz Davoodi Jiageng Zhang Jeff Stanway Drew Garmon Abhijit Karmarkar Zhe Dong Jong Lee Aviral Kumar Luowei Zhou Jonathan Evens William Isaac Zhe Chen Johnson Jia Anselm Levskaya Zhenkai Zhu Chris Gorgolewski Peter Grabowski Yu Mao Alberto Magni Kaisheng Yao Javier Snaider Norman Casagrande Paul Suganthan Evan Palmer Contributors Geoffrey Irving Edward Loper Manaal Faruqui Isha Arkatkar Nanxin Chen Izhak Shafran Michael Fink Alfonso Castaño Irene Giannoumis Wooyeol Kim Mikołaj Rybiński Ashwin Sreevatsa Jennifer Prendki David Soergel Adrian Goedeckemeyer Willi Gierke Mohsen Jafari Meenu Gaba Jeremy Wiesner Diana Gage Wright Yawen Wei Harsha Vashisht Yana Kulizhskaya Jay Hoover Maigo Le Lu Li Chimezie Iwuanyanwu Lu Liu Kevin Ramirez Andrey Khorlin Albert Cui Tian LIN Marin Georgiev Marcus Wu Ricardo Aguilar Keith Pallo Abhishek Chakladar Alena Repina Xihui Wu Tom van der Weide Priya Ponnapalli Caroline Kaplan Jiri Simsa Shuangfeng Li Olivier Dousse Fan Yang Jeff Piper Nathan Ie Contributors Minnie Lui Rama Pasumarthi Nathan Lintz Anitha Vijayakumar Lam Nguyen Thiet Daniel Andor Pedro Valenzuela Cosmin Paduraru Daiyi Peng Katherine Lee Shuyuan Zhang Somer Greene Duc Dung Nguyen Paula Kurylowicz Sarmishta Velury Sebastian Krause Cassidy Hardin Lucas Dixon Lili Janzer Kiam Choo Ziqiang Feng Biao Zhang Achintya Singhal Tejasi Latkar Mingyang Zhang Quoc Le Elena Allica Abellan Dayou Du Dan McKinnon Natasha Antropova Tolga Bolukbasi Orgad Keller David Reid Daniel Finchelstein Maria Abi Raad Remi Crocker Peter Hawkins Robert Dadashi Colin Gaffney Sid Lall Ken Franko Egor Filonov Anna Bulanova Rémi Leblond Vikas Yadav Shirley Chung Harry Askham Luis C. Cobo Contributors Kelvin Xu Felix Fischer Jun Xu Christina Sorokin Chris Alberti Chu-Cheng Lin Colin Evans Hao Zhou Alek Dimitriev Hannah Forbes Dylan Banarse Zora Tung Jeremiah Liu Mark Omernick Colton Bishop Chintu Kumar Rachel Sterneck Ryan Foley Rohan Jain Swaroop Mishra Jiawei Xia Taylor Bos Geoffrey Cideron Ehsan Amid Francesco Piccinno Xingyu Wang Praseem Banzal Petru Gurita Hila Noga Premal Shah Daniel J. Mankowitz Alex Polozov Nate Kushman Victoria Krakovna Sasha Brown MohammadHossein Bateni Dennis Duan Vlad Firoiu Meghana Thotakuri Tom Natan Anhad Mohananey Matthieu Geist Sidharth Mudgal Sertan Girgin Hui Li Jiayu Ye Ofir Roval Reiko Tojo Contributors Michael Kwong James Lee-Thorp Christopher Yew Quan Yuan Sumit Bagri Danila Sinopalnikov Sabela Ramos John Mellor Abhishek Sharma Aliaksei Severyn Jonathan Lai Kathy Wu Heng-Tze Cheng David Miller Nicolas Sonnerat Denis Vnukov Rory Greig Jennifer Beattie Emily Caveness Libin Bai Julian Eisenschlos Alex Korchemniy Tomy Tsai Mimi Jasarevic Weize Kong Phuong Dao Zeyu Zheng Frederick Liu Fan Yang Rui Zhu Mark Geller Tian Huey Teh Jason Sanmiya Evgeny Gladchenko Nejc Trdin Andrei Sozanschi Daniel Toyama Evan Rosen Sasan Tavakkol Linting Xue Chen Elkind Oliver Woodman John Carpenter George Papamakarios Rupert Kemp Sushant Kafle Tanya Grunina Rishika Sinha Contributors Alice Talbert Abhimanyu Goyal Diane Wu Denese Owusu-Afriyie Cosmo Du Chloe Thornton Jordi Pont-Tuset Pradyumna Narayana Jing Li Saaber Fatehi John Wieting Omar Ajmeri Benigno Uria Tao Zhu Yeongil Ko Laura Knight Amélie Héliou Ning Niu Shane Gu Chenxi Pang Dustin Tran Yeqing Li Nir Levine Ariel Stolovich Norbert Kalb Rebeca Santamaria-Fernandez Sonam Goenka Wenny Yustalim Robin Strudel Ali Elqursh Balaji Lakshminarayanan Charlie Deck Shyam Upadhyay Hyo Lee Mike Dusenberry Zonglin Li Xuezhi Wang Kyle Levin Raphael Hoffmann Dan Holtmann-Rice Olivier Bachem Summer Yue Sho Arora Eric Malmi Daniil Mirylenka Qijun Tan Christy Koh Soheil Hassas Yeganeh Contributors Siim Põder Steven Zheng Francesco Pongetti Mukarram Tariq Yanhua Sun Lucian Ionita Mojtaba Seyedhosseini Pouya Tafti Ragha Kotikalapudi Zhiyu Liu Anmol Gulati Jasmine Liu Xinyu Ye Bart Chrzaszcz Lily Wang Nikhil Sethi Tianrun Li Ben Brown Shreya Singh Wei Fan Aaron Parisi Joe Stanton Chenkai Kuang Vinod Koverkathu Christopher A. Choquette-Choo Yunjie Li TJ Lu Abe Ittycheriah Prakash Shroff Pei Sun Mani Varadarajan Sanaz Bahargam Rob Willoughby David Gaddy Ishita Dasgupta Guillaume Desjardins Marco Cornero Brona Robenek Bhavishya Mittal Ben Albrecht Ashish Shenoy Fedor Moiseev Henrik Jacobsson Alireza Ghaffarkhah Morgane Rivière Alanna Walton Clément Crepy Alicia Parrish Contributors Yuan Liu Zongwei Zhou Clement Farabet Carey Radebaugh Praveen Srinivasan Claudia van der Salm Andreas Fidjeland Salvatore Scellato Eri Latorre-Chimoto Hanna Klimczak-Plucińska David Bridson Dario de Cesare Tom Hudson Piermaria Mendolicchio Lexi Walker Alex Morris Ivo Penchev Matthew Mauger Alexey Guseynov Alison Reid Seth Odoom Lucia Loher Victor Cotruta Madhavi Yenugula Dominik Grewe Anastasia Petrushkina Tom Duerig Antonio Sanchez Steve Yadlowsky Amy Shen Amir Globerson Adam Kurzrok Lynette Webb Sahil Dua Dong Li Preethi Lahoti Surya Bhupatiraju Dan Hurt Haroon Qureshi Ananth Agarwal Tomer Shani Matan Eyal Anuj Khare Shreyas Rammohan Belle Lei Wang Chetan Tekur Mihir Sanjay Kale Jinliang Wei Contributors Ruoxin Sang Brennan Saeta Tyler Liechty Yi Sun Yao Zhao Stephan Lee Pandu Nayak Doug Fritz Manish Reddy Vuyyuru John Aslanides Nidhi Vyas Martin Wicke Xiao Ma Taylan Bilal Evgenii Eltyshev Daniel Balle Nina Martin Hardie Cate James Manyika Keyvan Amiri Yelin Kim Xi Xiong Kai Kang Florian Luisier Nilesh Tripuraneni David Madras Mandy Guo Austin Waters Oliver Wang Joshua Ainslie Jason Baldridge Han Zhang Garima Pruthi Jakob Bauer Feng Yang Riham Mansour Jason Gelman Yang Xu George Polovets Ji Liu Honglong Cai Warren Chen XiangHai Sheng Emily Xue Sherjil Ozair Adams Yu Christof Angermueller Contributors Xiaowei Li Weiren Wang Julia Wiesinger Emmanouil Koukoumidis Yuan Tian Anand Iyer Madhu Gurumurthy Mark Goldenson Parashar Shah MK Blake Hongkun Yu Anthony Urbanowicz Jennimaria Palomaki Chrisantha Fernando Kevin Brooks Ken Durden Harsh Mehta Nikola Momchev Elahe Rahimtoroghi Maria Georgaki Amit Raul Sebastian Ruder Morgan Redshaw Jinhyuk Lee Komal Jalan Dinghua Li Ginger Perng Blake Hechtman Parker Schuh Milad Nasr Mia Chen Kieran Milan Vladimir Mikulik Trevor Strohman Juliana Franco Tim Green Program Leads Demis Hassabis Koray Kavukcuoglu Overall Technical Leads (equal contribution) Jeffrey Dean Oriol Vinyals The roles are defined as below: • : Individual(s) responsible for the sub-team throughout the project. Lead Individual that had significant impact throughout the project. • Core Contributor: : Individual that had contributions to the project and was partially involved with the effort. • Contributor Responsible for the organizational aspects of the Gemini effort • Program Lead: Responsible for the technical direction of the overall Gemini effort • Overall Technical Lead: Within each role, contributions are equal, and are listed in a randomized order. Ordering within each role does not indicate ordering of the contributions. Gemini is a cross-Google effort, with members from Google DeepMind (GDM), Google Research (GR), Knowledge and Information (K&I), Core ML, Cloud, Labs, and more. We thank our reviewers and colleagues for their valuable discussions and feedback on the report— Alexandra Belias, Arielle Bier, Eleanor Tomlinson, Emily Hossellman, Gaby Pearl, Helen King, Hollie Dobson, Jaclyn Konzelmann, Jennifer Beroshi, Joel Moss, Jon Small, Jonathan Fildes, Oli Gaymond, Rebecca Bland, Reena Jana, and Tom Lue. Our work is made possible by the dedication and efforts of numerous teams at Google. We would like to acknowledge the support from Abhi Mohan, Adekunle Bello, Aishwarya Nagarajan, Alaa Saade, Alejandro Lince, Alexander Chen, Alexander Kolbasov, Alexander Schiffhauer, Amar Subramanya, Ameya Shringi, Amin Vahdat, Anda Rabatić, Anthonie Gross, Antoine Yang, Anthony Green, Anton Ruddock, Art Khurshudov, Artemis Chen, Arthur Argenson, Avinatan Hassidim, Beiye Liu, Benjamin Schroeder, Bin Ni, Brett Daw, Bryan Chiang, Burak Gokturk, Carl Crous, Carrie Grimes Bostock, Charbel Kaed, Charlotte Banks, Che Diaz, Chris Larkin, Christy Lian, Claire Cui, Clare Bycroft, Corentin Tallec, Daniel Herndon, Dave Burke, David Battle, David Engel, Dipannita Shaw, Donghyun Koo, Doug Ritchie, Dragos Stefanescu, Elissa Wolf, Emre Sargin, Eran Ofek, Eric Herren, Estella King, Fatema Alkhanaizi, Felix Gimeno, Fernando Pereira, Florent Altché, Gabriel Carvajal, Gaurav Gandhi, George Powell, Goran Pavičić, Harry Richardson, Hassan Wassel, Hongji Li, Idan Szpektor, Igor Ivanisevic, Ivan Jambrešić, Ivan Jurin, Jade Fowler, James Assiene, Jay Yagnik, Jeanbastien Grill, Jeff Seibert, Jenna LaPlante, Jessica Austin, Jianxing Lu, Jim O’Keeffe, Jin Huang, Joe Heyward, Johannes Welbl, John Jumper, Jonathan Caton, Josh Woodward, Joshua Foster, Kathryn Tunyasuvunakool, Katrina Wong, Kavya Kopparapu, Kelvin Nguyen, Kira Yin, Konstantin Sharlaimov, Kun Li, Lee Hong, Lilly Taylor, Longfei Shen, Luc Mercier, Maciej Mikuła, Mania Abdi, Manuel Sanchez, Maria Ines Aranguren, Mario Carlos Cortes III, Matthew Tait, Matthias Lochbrunner, Mehdi Ghissassi, Micah Mosley, Michael Bendersky, Michael Figurnov, Michael Harris, Michael Mathieu, Michael O’Neill, Michael Vorburger, Mihir Paradkar, Nandita Dukkipati, Nathan Carter, Nathan Watson, Neil Rabinowitz, Nikhil Dandekar, Nishant Ranka, Obaid Sarvana, Olcan Sercinoglu, Olivier Lacombe, Ottavia Bertolli, Paul Caron, Pranesh Srinivasan, Praveen Kumar, Rahul Sukthankar, Raia Hadsell, Rajagopal Ananthanarayanan, Roberto Lupi, Rosie Zou, Sachin Menezes, Sadegh Jazayeri, Sam Cheung, Sameer Bidichandani, Sania Alex, Sanjiv Kumar, Sara Wiltberger, Sarah Fitzgerald, Saz Basu, Sebastian Nowozin, Shannon Hepburn, Shayne Cardwell, Sissie Hsiao, Srinivasan Venkatachary, Sugato Basu, Sundar Pichai, Sundeep Tirumalareddy, Susannah Young, Swetha Vijayaraghavan, Tania Bedrax-Weiss, Taylor Applebaum, Teiva Harsanyi, Terry Chen, Tim Blyth, Ting Liu, Tom Cobley, Tomas Izo, Trystan Upstill, Varun Singhai, Vedrana Klarić Trupčević, Victor Cai, Vladimir Pudovkin, Vu Dang, Wenbo Zhao, Wesley Crow, Wesley Szeng, Xiaodan Song, Yazhou Zu, Ye Tian, Yicong Wang, Yixing Wang, Yossi Matias, Yunlong Jiao, Zachary Jessup, Zhenchuan Pang, Žiga Avsec, Zimeng Yang, and Zoubin Ghahramani. We’d also like to recognize the AlphaCode team, the Borg Scheduling team, the Facilities team, the Gemini Demo Team, the Global Server Ops (GSO) team, the JAX team, the the Legal team, ML SRE team, the ML Supercomputer (MLSC) team, the PartIR team, the Platforms Infrastructure Engineering (PIE) team, and the XLA Compiler team. We thank everyone at Google not explicitly mentioned above, who have shared excitement, given feedback on early Gemini models or created interesting demo uses of Gemini, and worked with or supported the core Gemini team on many aspects of this project.

Gemini -  A Family of Highly Capable Multimodal Models: Contributions and Acknowledgments

240 Stories To Learn About Startups Of The Year

Scientific American, Volume XXIV., No. 12, March 18, 1871 by Various, is part of the HackerNoon Books Series. You can jump to any chapter in this book . KNOTS AND SPLICES. here KNOTS AND SPLICES. 1. Turn used in making up ropes. End tapered for the purpose of passing it readily through a loop. To make this, we unlay the rope for the necessary length, reducing a rope diminishing in diameter towards the end, which is finished by interlacing the ends without cutting them, as it would weaken the work; it is lastly "whipped" with small twine. Tapered end, covered with interlaced cordage for the purpose of making it stronger. This is done with very small twine attached at one end to the small eye, and at the other to the strands of the rope, thus making a strong "webbing" around the end. Double turn used for making rope. Eye splice. The strands of the cable are brought back over themselves, and interlaced with their original turns, as in a splice. 6. Tie for the end of a four-strand rope. The same completed; the strands are tied together, forming loops, laying one over the other. Commencement for making the end by interlacing the strands. Interlacing complete, but not fastened. 10 and 11. Shell in two views used in No. 65, showing the disposition of it at the throat. This joining is advantageous, as it does not strain the cords, and it prevents them from cutting each other; so that the rings pass one into the other and are joined outside the intermediate shell. Interlacing in two directions. Mode of finishing the end by several turns of the twine continued over the cable. Interlacing commenced, in one direction. Interlacing finished, the ends being worked under the strands, as in a splice. 16. Pigtail commenced. 17. Interlacing fastened. 18. Pigtail with the strands taut. 19. Dead eye, shown in two views. 20. Pigtail finished. We pass the ends of the strands, one under the other, in the same way as if we were making a pudding splice: thus bringing it in a line with the rope, to which it is seized fast, and the ends cut off. 21. Scull pigtail; instead of holding the ends by a tie, we interlace them again, as in No. 16, the one under the other. 22. Pigtail, or "lark's nest." We make this to the "pennant" of a cable, which has several strands, by taking the requisite number of turns over the pudding, in such a manner that the strands shall lay under each other. This "pigtail" forms a knot at the end of the rope. It thus draws together two ropes, as shown in No. 32, forming a "shroud" knot. In these two pigtails, the strands are crossed before finishing the ends, so that the button, a, is made with the strands, a, and b, with those of the rope, b. 23. Slip clinch to sailors' knot. 24. Slip clinch, secured. 25. Ordinary knot upon a double rope. 26. Bowline knot for a man to sit in at his work. 27. Called a "short splice," as it is not of great length, and besides, can be made quickly. 30. Long splice. This extends from a to b. We unlay the strands of each of the ropes we intend to join, for about half the length that the splice will be, putting each strand of the one between two strands of the other. 31. Simple fastening on a rope. 32. A "shroud" knot. 33. The ends of the rope are prepared for making the splice (No. 29) in the same manner as for the "shroud" knot in No. 32. When the strands are untwisted, we put the ends of two cords together as close as possible, and place the ends of the one between the strands of the other, above and below alternately, so as to interlace them as in No. 29. This splice is not, however, very strong, and is only used when there is not time to make a long splice, which is much the best. 34 and 35. Marline spikes. Tools made of wood or iron, used to open out a rope to pass the strands of another through it. 36. Shows strands arranged as described in No. 30. 37. Fastening when a lever is used, and is employed when hauling upon large ropes, where the strength of several men are necessary. 38. A "pudding splice." This is commenced, like the others, by placing the rope end to end, the turns of the one being passed between those of the other; having first swelled out the yarns by a "rat's-tail," we put them, two by two, one over the other, twisting them tightly, and opening a way for them with the marlinspike. The inconvenience of this splice is, that it is larger in diameter than the rope itself; but when made sufficiently long, by gradually reducing the size of the strands, it has great strength. 39. This shows two strands, a and b, of the ropes, A B, knotted together, being drawn as tight as possible; we unlay the strand, a', of the rope, A, for half the length of the splice, and twist the strand, b', of the rope, B, strongly in its place, tying a' and b' together tightly. The same process is again gone through on the rope, B, the strand, a", of the rope, A, being knotted to the strand, b", of the rope, B. When all the strands are thus knotted together, we interlace them with the strands of the cable. Thus the strands, a a' a", are interlocked by being passed alternately above and below the turns of the cord, B, the ends being also sometimes "whipped." In the same manner the strands, b b' b", pass alternately over and under the strands of the rope, A, and are in like manner "whipped." It is important that the several interlacings and knots should not meet at one point; we reduce the size of the strands towards the end, so that they loose themselves in the body of the splice, cutting off such parts as may project. This splice is employed for joining the ends of a rope when a chafed part has been cut out, and is quite as strong as the rope itself. 40. Belaying-pin opened to serve as a button; these are used where it is necessary to stop or check velocity. 41. Chain knot, or fastening. 42. Variable or regulating lashing. By laying the piece, a f, horizontally, it can be slipped along the rope, b; by raising or lowering this, we shall raise or depress the weight, c, the cord, b, running over the two pulleys, d, from the piece, a f, in the direction shown in the figure. The friction of the cord, b, passing through the hole, e, sufficiently fixes the piece, a f, and holds the weight, c, securely. 43. Cleet, with three ties. 44. Cleet, showing the mode of belaying the cord. 45. The piece, a f, of No. 42. 46. Fair leader. 47. Cleet to be fixed to a stay. 48. Loop for slipping other lines. 49. A "bend" which is only used for fear of the stoppers snapping. 50. Bastard loop, made on the end of the rope, and whipped with yarns. 51. Tie to pins: a, the pin; b, small cords fixed by a cross tie. 52. Cleet, fixed to the "rail," either with screws or nails, to which the lines are belayed. 53. Waterman's knot. 54. Fair leader. 55. Tie, or bend to pier. 56. Simple fastening to tie. 57. Fastening by a loop. This can be tied or untied without loosening the loop itself. It is made by following, towards the longer loop, the direction as numbered 1, 2, 3, 4, 5, and is terminated by the loop, 6, 7, 6, finally passing it over the head of the post, A. This knot holds itself, the turns being in opposite directions. To untie it, we slack the turns of the cable sufficiently to again pass the loop, 6, 7, 6, over the post, A, and turn the ends in the contrary direction to that in which they were made (as 5, 4, 3, 2, 1). 58. Iron "shell," in two views. 59 and 60. "Wedding" knots; a b, eyelets; c d, the join; e, the fastening. Lark's-head fastening to running knot. A round turn; the cord, a, is passed through the bight of the cord, b, over the button, c, where it is secured by an ordinary knot. Belaying-pin splice. The cord, b, "stops" the pin, e, its end being spliced upon itself, and "served" with yarn; this rope, with its pin, is passed through the spliced eye, f of the line, g. 64. Round button. 65. Joint by a spherical shell, each loop, a and b, being made by ties and splices, and surrounding the shell, c. Belaying-pin, shown separately, before being stoppered. Fastening to shears. Square mooring. When the cable is round the post, A, and the piece, c, without being crossed, it lays in the section 1, 2, 3, 4, 5, 6, 7, and the end is fastened by tying. Crossed fastening. The turns of the cable, passing in front of the post, B, are crossed at the back of C, in the direction 1, 2, 3, 4, 5, 6, 7, 8, the end, 8, being secured to the cable Wooden shell in section. Wooden shell. Double-chain fastening. 73. Lashing for "ram" block, or "dead-eye." The ram blocks, a and b, are strapped by the cords, e, which hold them; the small lanyards, d, pass through the holes to make the connection, and as they are tightened give the requisite tension to the cordage; the ends are fastened to the main rope. Usually one of these dead-eyes is held by an iron strap to the point where it is required to fix and strain the cordage, which is ordinarily a shroud. Chain fastening. 1'. Simple band, showing the upper side. 2'. The same, showing the under side and the knot. 3'. Tie, with crossed ends, commenced; a turn is taken under the strands, to hold the ends of the cord. 4'. The same, completed. 5'. Bend with crossed strands, commenced, the one end being looped over the other. 6'. The same, completed. 7'. Necklace tie, seen on the upper side. 8'. The same, seen underneath. The greater the strain on the cords, the tighter the knot becomes. 9' and 10' are similar splices to 7' and 8' with slight modifications. 11' shows the commencement of 13', the legs in elevation; 12' being a front view. An ordinary band, made by several turns of a small rope, is lapped round them and hauled taut, and then interlaced at the ends. This done, the legs are shifted into the shape of a St. Andrew's cross. Thus the lashing is tightened, and, for further security, we pass the line several times over the tie and between the spars, knotting the ends. 13'. Portuguese knot. This is a lashing for shear legs, and must be tight enough to prevent the spars slipping on each other; the crossing of the two legs gives a means of securing the knot. 14'. For binding timbers; a, knot commenced. Take several turns round the timbers, and fasten the ends by passing them under the turns; b, knot completed. The end of a round stick, m n, termed a packing stick, should be passed under the knob, the cord being slack enough to allow of this. By turning the stick, the turns can be tightened to any extent; when tight, we fasten the longer arm of the lever to some fixed point, by a rope, p q, so that it cannot fly back. Care must be taken not to turn the stick too far, or the rope may be broken. As the timber dries and shrinks, the lever may be used to make all taut again. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Various (2006). Scientific American, Volume XXIV., No. 12, March 18, 1871. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/19180/pg19180-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

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