on 01-Feb-2017 (Wed)

routing information base (RIB), is a data table stored in a router or a networked computer that lists the routes to particular network destinations

The routing table contains information about the topology of the network immediately around it

The construction of routing tables is the primary goal of routing protocols

The psychological dimension of words is especially affected by their combinations. Some combinations, particularly of adjectives and nouns and of nouns and verbs, are “just right,” for example, the following combinations in Milton: “dappled dawn,” “checkered shade,” “leaden-stepping hours,” “disproportioned sin jarred against nature’s chime.”

Certain combinations of words and thoughts produce a vivid concentration of meaning rich in the psychological dimension.

ILLUSTRATION: Combinat ion of words

I have stained the image of God in my soul.

—Catherine of Siena, Dialogue

The flesh-smell of hatred.

Some poems understood literally, in its logical dimension, is false and even ridiculous. But understood imaginatively, as it is meant to be since it is metaphorical, the poem has emotional truth.

Since a word is a symbol, an arbitrary sign whose meaning is imposed on it, not by nature, not by resemblance, but by convention, it is by its very nature subject to ambiguity; for, obviously, more than one meaning may be imposed on a given symbol. In a living language, the common people from time to t ime under changing conditions impose new meanings on the same word, and therefore words are more subject to ambiguity than are the symbols of mathematics, chemistry, or music, whose meaning is imposed on them by experts.

The ambiguity of a word may arise from:

(1) the various meanings imposed on it in the course of time, constituting the history of the word;

(2) the nature of a symbol, from which arise the three impositions of a word and the two intentions of a term;

(3) the nature of the phantasm for which the word is originally a substitute (see Chapt er Two, Generation of a Concept).

Since a word is a symbol, an arbitrary sign whose meaning is imposed on it, not by nature, not by resemblance, but by convention, it is by its very nature subject to ambiguity; for, obviously, more than one meaning may be imposed on a given symbol.

The ambiguity of a word may arise from:

(1) the various meanings imposed on it in the course of time, constituting the history of the word;

(2) the nature of a symbol, from which arise the three impositions of a word and the two intentions of a term;

(3) the nature of the phantasm for which the word is originally a substitute

A word acquires various meanings during the course of time.

The fact that one sound or word can have many meanings can create ambiguity because it might not be known which meaning is symbolized.

Such words are homonyms, ambiguous to the ear, and they may or may not differ in spelling when writ ten. The ambiguous sound may be within the same language, or it may be in different languages.

Ambiguity is caused by the very nature of a symbol, from which arise the three impositions of a word and the two intentions of a term.

The ultimate purpose of words and terms is to convey to another one’s ideas about reality. But between the reality as it exists and as one apprehends it and expresses it are a number of intermediate steps: the creation of the phantasm, the creation of the percept, and the creation of the concept.

If one uses a word or a term to refer directly to a reality not it self, to what we know, it is used predicatively (that is, said of another, or referring to another, to the reality which it symbolizes). This is the ordinary use of a word or a term, and it is then used in first imposition and in first intention. If, however, one uses a word or a term to refer to itself as an instrument in any one of the intermediate steps by which we know or by which we symbolize what we know, it is used reflexively (that is, referring t o itself, as a concept, a sound, a mark, a noun, etc.).

This is the peculiar use of a word or a term in an imposition or an intention different from the ordinary use, as may be seen in the following examples.

Before you crack open your book to page one and dive in, take a few minutes to read the preface and introduction to the text and browse through the table of contents and the index. This will tell you the main topics that the book will cover, the author's particular approach to the subject (i.e., why he/she wrote another text on the subject when there are probably twenty on the market), and what the basic organizational structure will be.

A similar process is repeated before each chapter. Read all the titles and subtitles, study any pictures, charts or graphs, and, if there are any, read the summary at the end of the chapter and any study questions. Surveying a chapter in this way gives you the "big picture;” a framework of the main ideas which will help to hold the details together later.

Before you open your book to read, take a few minutes to read the introduction and browse through the table of contents and the index.

A similar process is repeated before each chapter.

Read the summary at the end of the chapter and any study questions.

Surveying a chapter in this way gives you the "big picture;” a framework of the main ideas which will help to hold the details together later

Before beginning to read, take the subtitle of the section or the first sentence and turn it into a question.

Then read; not passively sliding your eyes over the words, but actively engaging the text, trying to find the answer to your question. Be cautious, however, that you don't end up skimming for the answer to your question and missing other important information.

Once you've read the section, close the textbook and answer your question, either orally or on paper, in your own words. If you can't answer the question, you should re-read that section until you can. If, after several tries, you still can't answer your question, go on to the next few sections and see if things become clearer. You may find that you need to change your question. For example, you may have first posed the question, "What is the Treaty of Versailles?" for the subtitle "The Treaty of Versailles," but, after reading the section, you may find that a better question is, “Why was the Treaty of Versailles created?" If changing your question doesn't help clarify the reading, it's time to get some help. Your instructor or LRC tutors are good places to start.

If you can't answer the question, you should re-read that section until you can.

If, after several tries, you still can't answer your question, go on to the next few sections and see if things become clearer.

If at any point in the deception you practice people have the slightest suspicion as to your intentions, all is lost. Do not give them the chance to sense what you are up to: Throw them off the scent by dragging red herrings across the path. Use false sincerity, send ambiguous signals, set up misleading objects of desire. Unable to distinguish the genuine from the false, they cannot pick out your real goal.

Do not give them the chance to sense what you are up to: Throw them off the scent by dragging red herrings across the path.

Use false sincerity, send ambiguous signals, set up misleading objects of desire. Unable to distinguish the genuine from the false, they cannot pick out your real goal.

Ninon de Lenclos, a badass ma'am helped the Marquis de Sevigné to hit on a bitch. Ninon was sixty-two at the time,bitch was twenty-two and hot. First, told him this was war, and that the bitch was a citadel to which he had to lay siege. Every step had to be planned and executed with the utmost attention to detail.

Told him to start over and approach her indifferently, treat her like a friend. This was to throw her off the scent. The bitch was no longer to take his interest in her for granted.

Ninon planned ahead. Once she was confused, it would be time to make her jealous. At the next party, the marquis would show up with a bunch of hot bitches. She would get jelous and he would look desired by others. A woman who is interested in a man wants to see that other women are interested in him, too. It makes it all the more satisfying to snatch him from them.

Once the countess was jealous but intrigued, it would be time to manipulate her. The marquis would fail to show up at parties where the bitch expected to see him and appear at places where she dont expext him. She would be unable to predict his moves. All of this would push her into the state of emotional confusion that is a prerequisite for successful seduction.

These took several weeks. Bitch started laughing a little harder at his jokes, listen more closely to his stories. Bitch was asking questions about him and look for him. It was a matter of weeks now, maybe a month or two..

Dumbfuck marquis some days later was at the bitch's home. He took her hand and told her he was in love with her. Bitch got confused, a reaction he did not expect. She became polite, then excused herself. Bro, fucked it up, the spell was broken.

Ninon knew that men and women are very different, but when it comes to seduction they feel the same: Deep down inside, they often sense when they are being seduced, but they give in because they enjoy the feeling of being led along.

Everything in seduction, however, depends on suggestion. You cannot announce your intentions or reveal them directly in words. Instead you must throw your targets off the scent.

In seduction you have to scramble your signals—appear interested in another man or woman (the decoy), then hint at being interested in the target, then feign indifference, on and on. Such patterns not only confuse, they excite.

His moves intrigued her, each of them keeping her waiting for the next one—she even enjoyed her jealousy and confusion, for sometimes any emotion is better than the boredom of security.

The moment the marquis uttered that fatal word “love,” his true intention was revealed: He was seducing her. All that before had been charming now seemed ugly.

Do not be held a cheat, even though it is impossible to live today without being one. Let your greatest cunning lie in covering up what looks like cunning.

Baltasar Gracián, 1601-1658

Pseudo-random number generators (PRNGs) are not actually random; they are in fact deterministic. But the properties of the sequences they generate mimic the properties of random processes.

mathematical functions can define curves that can be used to describe degrees of belief

Your job in answering that question is to provide a number between 0 and 1 that accurately reflects your belief probability. One way to come up with such a number is to calibrate your beliefs relative to other events with clear probabilities

o specify our subjective beliefs, we have to specify how likely we think each possible outcome is. It can be hard to pin down mushy intuitive beliefs. In the next section, we explore one way to “calibrate” subjective beliefs, and in the subsequent section we discuss ways to mathematically describe degrees of belief

In general, a probability, whether it’s outside the head or inside the head, is just a way of assigning numbers to a set of mutually exclusive possibilities

1. A probability value must be nonnegative (i.e., zero or positive). 2. The sum of the probabilities across all events in the entire sample space must be 1.0 (i.e., one of the events in the space must happen, otherwise the space does not exhaust all possibilities). 3. For any two mutually exclusive events, the probability that one or the other occurs is the sum of their individual probabilities. For example, the probability that a fair six-sided die comes up 3-dots or 4-dots is 1/6 + 1/6 = 2/6.

A probability distribution is simply a list of all possible outcomes and their corresponding probabilities

For continuous outcome spaces, we can discretize the space into a finite set of mutually exclusive and exhaustive “bins.”

The probability of a discrete outcome, such as the probability of falling into an interval on a continuous scale, is referred to as a probability mass

Loosely speaking, the term “mass” refers the amount of stuff in an object. When the stuff is probability and the object is an interval of a scale, then the mass is the proportion of the outcomes in the interval.

The problem with using intervals, however, is that their widths and edges are arbitrary, and wide intervals are not very precise. Therefore, what we will do is make the intervals infinitesimally narrow, and instead of talking about the infinitesimal probability mass of each infinitesimal interval, we will talk about the ratio of the probability mass to the interval width. That ratio is called the probability density.

Loosely speaking, density is the amount of stuff per unit of space it takes up. Because we are measuring amount of stuff by its mass, then density is the mass divided by the amount space it occupies.