Jigsaw Part 1

[Rayna Benincase]

Whenone spot stops working, move to another. People that do jigsaw puzzles like my wife is able to move around and then come back to it later. Variety is the spice of life. There are different colours and patterns, the harder the jigsaw puzzle is, I guess the bigger that is. You might sit down with the kids to enjoy a puzzle, while working together. Working together can make any task fun.

As followers of Jesus in whom all things were made, we acknowledge the Darug people as the Traditional Custodians of the Country where our Station is located. We recognise their continuing connection to the land and waters, and thank them for protecting this land and its ecosystems since time immemorial. We pay our respects to Elders past, present and future. We extend that respect to all First Nations peoples.

Susan, minister-in-training that she is, concluded our days-long puzzle-building spree with a truly generous pronouncement, her trained observational eye recognizing that jigsaw puzzles, after all, are a group endeavor, best enjoyed in the company of those we love.

Make a splash into a world under the sea! Creatures flow through their lives day in and day out. But what's about to happen will completely alter their perspectives forever...

"High quality and the art is beautiful. I've been telling all my friends! I've already bought all three puzzles and can't wait for more. I've always enjoyed discovering the small details in a work of art while putting it together in a jigsaw puzzle and adding a story to the image is the perfect addition to that experience. Thank you, this was a perfect self-care gift for myself :)"

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Whether you are a puzzle fan or not, these lessons are valuable. But if you are a fan, the next time you are working on one, think about these lessons from jigsaw puzzles, and find your own too. When you do you will be having fun, exercising your mind, and learning at the same time.

Fast forward three centuries to the Tokugawa shogunate and we find Noh remains a favored art among the warrior class, but it also developed a deep-rooted connection to the Shinto religion. The plays tend toward morality tales and lessons in tradition and social status, particularly emphasizing the nobility of samurai.

After the Meiji restoration in the mid-19th century, Noh had a decline in popularity. While today it is recognized in Japan as an Important Intangible Cultural Property and is on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, many Japanese find it too expensive, and too obscure, to patronize. Among my friends, there are very few who have even seen a Noh performance.

The Noh stage contains a number of very distinctive features central to the performance. In its most traditional iteration, the stage is a structure and the audience watches by looking into it from outdoors. The stages are still often found on the grounds of large shrines, and many are still in use, especially for torchlight performances in the summer. This unusual lighting adds to the allure.

Above are two fine examples of such stages. On the left, the Noh stage at Yasukuni Shrine in Tokyo. This stage was originally built in 1881 on the present day site of Tokyo Tower and was moved to Yasukuni Shrine in 1904. On the right is the even older Noh stage at Chusonji temple in Hiraizumi. Re-built in 1853, it still sports a thatched roof.

There is no curtain on a Noh stage, so players can usually be seen before they have even technically come on stage. Most feature an elaborate painting of an old pine tree on the back panel of the stage. The musicians are usually seated in front of this panel. On the left-hand side as one faces the stage there is a runway by which many actors make their entrance/exit. On the right-hand side is an area where the chorus sits.

Noh costuming ranges from performers in black kimono and muted hakama to characters in elaborate layered kimono, often made of brocade or heavily embroidered fabric. These costumes, combined with the hand gestures and body movements, are what makes Noh so visually pleasing to watch, even if it is not possible to understand the words spoken by the actors.

The one feature of Noh that holds little appeal for me is the sound of it. The music is based on old Japanese court music and what instruments it uses are those ancient ones. The delivery of the lines, and the chanting of the chorus, are in the style of religious intonations. Personally I find it all a bit grating on the ears.

When I heard this, a penny dropped for me. I realised I had been scurrying through the metaphorical jigsaw box getting distracted and horrified by all the pieces needing solved. Thus I wound up feeling completely overwhelmed and unable to actually make a positive impact on any of the pieces.

The beauty of this metaphor for the world is that it allows you to care about a wide number of causes, while alleviating the overwhelm of trying to solve all of them, knowing there is a fellow human who is as dedicated to that issue as you are to yours.

We acknowledge the Traditional Owners of Country and their continuing connection to land, waters and community. We pay respect to Elders past and present and to the pivotal role that First Nations Peoples continue to play in caring for Country across Australia.

I grew up with jigsaws (my mother was nuts for them) and I married a man equally passionate. As a child development professional, I know that jigsaws exercise both sides of the brain, strengthen short-term memory, improve visual-spatial reasoning and reduce stress. Friends of mine who have adopted children who have endured severe trauma report that doing jigsaws (no eye contact! everybody focused only on what their hands are doing!) had encouraged conversations and revelations years in therapy might never achieve. There is literally no downside.

LRMF इस अनश्चत समय में हमरे समुदय क सुरक्षत रखने के लए प्रतबद्ध है कृपय COVID-19 पर हमर आधकरक बयन पढ़ें

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The answer to the first question is easy, (almost) each module is given a name. This name should be following something similar to the package convention, e.g. de.codecentric.mymodule, to avoid conflicts.

Module dependencies must form an acyclic graph, forbidding circular dependencies. To adhere to this principle, it was a major task for the Jigsaw team to modularize the Java Runtime which was reportedly full of circular and unintuitive dependencies. They came up with is this graph:

results in the same answer as before. We again specify the modulepath which in this example is the bin folder which we wrote our jars to. We do not need to specify a main class as the Manifest of addresschecker.jar already contains this information. Providing the module name to the -m switch is sufficient.

To provide some more functionality, we decide to extend the zipvalidator by introducing a new module de.codecentric.zipvalidator.model that contains some kind of model for the validation result instead of using a boring boolean. The new file structure is shown here:

This concludes part one. We talked about the three questions each module answers and the modularization of the Java Runtime. We proceeded with an example where we compiled, ran and packaged a simple Java application consisting of two modules. Then, we started tinkering with the working example to see how the module system behaves when its rules are violated. An extension of functionality then introduced a third module and the concept of implied readability.

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